Chinese girls’ names in Dream of the Red Chamber (Hong Lou Meng)

Zixing said, “So in the Jia household, the first three [girls] are not bad. Old Mr Zheng’s oldest daughter, whose name is ‘Beginning-of-Spring,’ because everyone praised her virtue and talents, was chosen to enter the imperial palace as a lady-in-waiting. The second daughter is the daughter of old Mr She by his wife, and her name is ‘Welcome-the-Spring.” The third young lady is the daughter of Mr Zheng by a concubine, and her name is ‘Seek-for-Spring.’ The fourth young lady is on the Ning Mansion side [i.e. not in the same branch of the family] and is the younger sister of Mr. Zhen. Her name is ‘Regretting-the-Spring’….

Yucun said, “It was so intelligent that in the Zhen family’, the girls’ names always used to be the same kind as the boys’, not the way other families named girls– with those ‘glamorous’ names like  ‘Spring’ or ‘Red’ or ‘Fragrant’ or ‘Jade.’ Why would the Jia family choose this kind of vulgar naming?”

The character "Min"

Zixing said, “It doesn’t. But because the oldest young lady was actually born on the first day of the year, she was called ‘Beginning-of-Spring,’ so the others were named following that, with the name ‘Spring.’ But the generation before that, the girls were named like their brothers. Now to prove it, take your employer’s wife Mrs Lin, who was from the Rong family, the full sister of Jia She [shè means Clemency] and Jia Zheng [zhèng means Rule]. Her name was was Jia Min [min means Clever]. If you don’t believe me, you can ask for yourself.”

Yucun hit the table and said laughing, “No wonder my girl student, whenever she reads the word ‘Min,’ always reads it as ‘Mi’ and always leaves off one or two strokes of the brush [there was a taboo on writing the full names of one’s parents and the emperor]. It puzzled me. Now I hear you say that, there’s no more mystery! ”

Cao Xueqin‘s Dream of the Red Chamber (Hong Lou Meng 紅樓夢 ) was written in the middle 1700s

子興道:「便是賈府中,現有的三個也不錯。政老爹的長女,名元春,現因賢孝才德,選入宮作女史去了。二小姐乃赦老爹之妾所出,名迎春;三小姐乃政老爹之庶出,名探春。四小姐乃寧府珍爺之胞妹,名喚惜春。。。」

雨村道:「更妙在甄家的風俗,女兒之名,亦皆從男子之名命字,不似別家另外用這些『春』『紅』『香』『玉』等艷字的。何得賈府亦樂此俗套﹖」

子興道:「不然。只因現今大小姐是正月初一日所生,故名元春,餘者方從了『春』字。上一輩的,卻也是從兄弟而來的。現有對証:目今你貴東家林公之夫人,即榮府中赦、政二公之胞妹,在家時名喚賈敏。不信時,你回去細訪可知。」

雨村拍案笑道:「怪道這女學生讀至書,凡中有『敏』字,她皆念作『密』字,每每如是;寫字遇著『敏』字,又減一二筆,我心中就有些疑惑。今聽你說的,是為此無疑矣!」

Balzac’s names

La Comédie humaine is an enormous onomastic epic…. In all his work, Balzac presents us with magic names, like that of Fedora or Z. Marcas, prestigious names, like that of Beauséant, comical names, like Beaupertuys, gross names, like Beauvisage, or ignoble, like Crochard or Gaubertin…. Balzac professed, according to his sister, that “invented names don’t give life to imaginary beings, while those that have really been borne give them reality.” It does in fact seem that the further Balzac advanced into his work, the less he invented or deformed the names he used. Thus the beauty of the Balzacien name comes essentially from the weight it has on human beings, who can never change it, even when they try, like bastards, criminals, or great ladies wishing for a new personality. The bourgeois name is a true tunic of Nessus, which one never manages to completely rip off, especially in the modern French onomastic system, infinitely more binding than the practice of the Ancien Régime, entirely commanded by the father’s name. It is the sign of a civilization of writing. And everyone is obsessed with the desire for an indelible signature, in inscribing his name in the commercial, scientific, historical, or institutional circuit. The bourgeoisie of the 19th century gave itself up to a veritable onomastic debauchery, in “giving” its names to anything and everything, to a product, to streets, to discoveries, mountains, or literary prizes. When Balzac delved with both hands into the names of his neighbors in Tours for his characters’ names, all he did was anticipate this way of behaving. The procedure is the same for places: to take their names is to symbolically appropriate their substance, the best of their being.

Nicole Mozet, La ville de province dans l’oeuvre de Balzac: l’espace romanesque : fantasme et ideologie (Paris, Societe d’edition d’enseignement superieur, 1982)

La Comédie humaine est une enorme épopée onomastique. Les noms propres sont des morceaux de corps, des morceaux de terre, de purs signifiants. Dans tout son oeuvre, Balzac nous présent des noms magiques, comme celui de Foedora ou de Z. Marcas, des noms prestigieux, comme celui de Beauséant, des noms drolatiques, comme Beaupertuys, des noms grossiers, comme Beauvisage, voire ignobles, comme Crochard ou Gaubertin….

The Duchess of Langeais…cette “singulière theorie sur les noms” que professait Balzac, d’après sa soeur, et qui voulait que “les noms inventés ne donnent pas la vie aux êtres imaginaires, tandis que ceux qui ont réellement été portés les douent de réalité.” Il semble effectivement que Balzac, au fur et à mesure qu’il s’avançait dans son oeuvre, ait de moins en moins inventé et déformé les noms qui’il utilisait. Aussi la beauté du nom Balzacien vient-elle essentiellement du poids que celui-ci fait peser sur les êtres, qui n’en peuvent jamais changer, même quand ils essaient, comme les bâtards, les criminels, ou les grandes dames en mal d’une nouvelle personnalité. Le nom bourgeois est un véritable tunique de Nessus, que l’on ne parvient jamais à arracher complètement, surtout dans le système onomastique français moderne, infiniment plus contraignant que la pratique de l’Ancien Régime, et entièrement commandé par le nom du père. C’est le signe d’une civilisation de l’écrit. Et chacun d’être obsédé par le désir d’une signature indélébile, en inscrivant son nom dans le circuit commercial, scientifique, historique ou institutionnel. La bourgeoisie du XIXeme siècle s’est livrée a une véritable débauche onomastique, en “donnant” ses noms à tous vents, à un produit, à des rues, à des découvertes, à des montagnes ou à des prix littéraires. Balzac n’a fait qu’anticiper sur cette façon d’agir lorsqu’il a puisé à pleines mains dans les noms de ses voisins de Tours pour les faire porter par ses personnages.  Le procédé est le même quand il s’agit des lieux: prendre leurs noms, c’est s’approprier symboliquement leur substance, le meilleur de leur être.

John Gardner: To change a character’s name is to make the fictional ground shudder

silhouette of two women

As in the universe every atom has an effect, however minuscule, on every other atom, so that to pinch the fabric of Time and Space at any point is to shake the whole length and breadth of it, so in fiction every element has effect on every other, so that to change a character’s name from Jane to Cynthia is to make the fictional ground shudder under her feet.

John Gardner (1933-1982), The Art of Fiction (1983), ch. 3