The Return of Empress Wu

Many took issue with the program's treatment of this fascinating historical character. Letters and phone calls have poured into television stations, the Government Information Office, and even the Ministry of Education. Says one beleaguered viewer, "We're all educated people. The TV takes a ruthless, immoral Wu Tse- t'ien and turns her into a sweet girl deserving our sympathy. This is the limit. The Ministry of Education puts all that effort into teaching history, and in just a few weeks, it's completely changed. Next time they needn't try so hard."

Others agree. One letter, signed by "The Innocent Public," complained that viewers felt toyed with and cheated by the show, and pleaded for some real history. One actor hypothesized that the depiction of a young woman of tender femininity in the first half of a story helped make even more graphic her transformation into an empress easily capable of murder and incest, making the story even more exciting.

For whatever reason, Empress Wu on TV later became a vengeful and murderous dictator, ready to kill her daughter and anyone else she suspected. And, as might be expected, some viewers found even this section overdrawn.

History books likewise differ as to their verdict on Wu Tse-t'ien. All agree, however, that she was a woman of great beauty who looked the part of an empress. By the time she was fourteen, even the T'ang Emperor T'ai-Tsung had heard of her loveliness and had made her one of his ladies, with a high position in his court. A woman of literary talent, she also had other practical skills, such as makeup. Her abilities in the last area were formidable and allowed her to keep her good looks well into her sixties.

Explanations abound on the how and why of her character. One contemporary writer attributed her savagery to a lower-class background, but more recent accounts disagree, claiming her mother's abuse by her half-brothers nursed a cross and fiery spirit, which later found ample opportunity for vengeance once she became a member of the court.

The ferocity of her spirit found early expression. Once T'ai-Tsung had a horse no one could tame. Wu said, "I can tame it, but I need three things: a whip, a hammer, and a dagger. If the horse does not yield, I will hit it on the head with the hammer. If that does not work, I will use the dagger and slit its throat." The assembled officials were helpless to stop the massacre, and the incident presaged similar displays of ruthlessness later in her career.

Twelve years after her entry into the court, T'ai-Tsung died, creating a struggle for power in the palace. Wu, known for her quick and clever mind, rapidly won the trust of the new emperor Kao-Tsung and the empress. Within a short period, she became his only concubine and bore him a son, which gave her the opportunity to usurp the empress and take the throne for herself, in a series of maneuvers completed around her 27th birthday.

The move naturally drew swift and strong opposition, led by a high official. Such dissent made Kao-Tsung furious, but Wu had a solution: "Why not kill the wretch?" Following his execution, Wu had her daughter murdered, framing the deposed queen in the process, and embarked on a bloodletting consuming princes, relatives, and officials, all eliminated so that she might consolidate her power. Yet historians remind us that though this campaign was indeed ruthless, it was by no means extraordinary in Chinese imperial history, where emperors killed without pity relatives who stood in their way.

The drastic nature of this change in Wu's personality might be partially explained by the character of Kao-Tsung. His mother died when he was only nine, and Kao-Tsung grew up dominated by his authoritarian father, T'ai-Tsung, who frequently worried that his son was too soft. The results of a match between the decisive and beautiful Wu and the dependent emperor are easy to imagine. Kao-Tsung also had difficulties with his health and would be forced to repair to his inner chambers, where Wu would act as his chief advisor, issuing orders on matters large and small. In 687, Kao-Tsung passed away, but Wu remained in charge. Notes one historian, "There are several examples of empresses acting as regents when the emperor is not of age. But to continue to rule while the heir is already mature is quite an exception."

By this point Wu had already tasted twenty-five years of supreme power and was in no mood to give it up. The heirs were exiled, and Wu proclaimed herself emperor. She even changed the name of the dynasty from T'ang to Chou, claiming one of the 12th century B.C. Chou emperors as one of her ancestors. Later, however, when Chung-Tsung assumed the throne, he changed the name of the dynasty back to T'ang.

Wu ruled as an advisor for over twenty years, as regent for five, and as emperor for fifteen. Historians of the time were loath to record her successes, and the details that remain are sketchy at best. While her record contains no outstanding accomplishments, it also shows no evidence of particular incompetence or failure.

The controversial nature of her accession to power perhaps precluded the possibility of true excellence in the administrative sphere. Statistics show seventy-five officials assuming the position of prime minister during her reign, with 60 percent losing the post via execution. In the literary sphere, she wrote and had written several books, mostly dwelling on the value of submissiveness and knowing one's place. Changing reign titles was another activity which caught her fancy.

As people vary in their estimates of her administrative skills, there is also considerable disagreement regarding her love life. Though there are stories of romance before Kao-Tsung died (in Wu's sixtieth year), little supporting evidence exists. The most famous story involves the Chang brothers, an attractive couple skilled at the arts of makeup and dress who Wu made top officials. They became powerful leaders at the court and helped make government policy. According to an official petition to Wu, the escapades reached the point to where people were offering their "white-skinned, downy-cheeked" sons as enticements to Wu in return for favors. Be that as it may, her exploits still pale in comparison with those of later T'ang dynasty emperors.

Contemporary historians, some of whom were descendants of Wu's victims, were merciless in their denunciation of her cold-bloodedness and luxury. Several of their accounts now, however, are discounted due to lack of evidence. What is clear is that Wu Tse-t'ien made a difficult mother and relative. She gave birth to six children, four sons and two daughters, of which only one (a daughter) found her way into her favor. The remaining five met an early death or lived lives under house arrest thanks to their mother. A similar story may be told of her relatives. Obtaining a full count could well yield an astronomical figure.

In sum, though, since much of our evidence comes from official histories written to suit the prevailing political and moral climate, our picture of Wu Tse-t'ien must remain somewhat blurred. She still remains a figure of fascination for TV audiences and her "comeback" has inspired similar programs about Yang Kuei-fei and Empress Tz'u Hsi, letting viewers again judge for themselves if what they see is fact or fiction.

[Picture Caption]

Hong Kong's Wu Tse-t'ien (at left, played by Feng Pao-pao), Taiwan's Empress Wu (at right, played by P'an Yin-tzu), and her image in the history books.

Wu was reputed to outshine beauties of the T'ang such as the one pictured above.

T'ang Tai-Tsung, who brought Wu from obscurity into his court.

Sales of Wu's biography picked up considerably thanks to the show.

(Far right) The stage director orders Empress Wu to hold court.

Tu Ku-hung (left) and Meng Tze-yi (right) wrote the screenplay for the program.

The show portrayed Wu as loving the guileless prince with a pure heart.In her early years, Wu led a difficult life.

The screenplay changed occultist Ming Ch'ung-yen into civilian minister Min Hsueh- wen (left) and General Ch'eng Wu-t'ing into military strategist Ch'eng Nan-wu (right). At center is Wu's childhood friend, Mei Chu-ma.

The last episode saw P'an Yin-tzu made up as Empress Wu. at age 66.

Hong Kong's Wu Tse-t'ien （at left, played by Feng Pao-pao）, Taiwan's Empress Wu （at right, played by P'an Yin-tzu）, and her image in the history books.

Hong Kong's Wu Tse-t'ien （at left, played by Feng Pao-pao）, Taiwan's Empress Wu （at right, played by P'an Yin-tzu）, and her image in the history books.

Wu was reputed to outshine beauties of the T'ang such as the one pictured above.

T'ang Tai-Tsung, who brought Wu from obscurity into his court.

Sales of Wu's biography picked up considerably thanks to the show.

Tu Ku-hung （left） and Meng Tze-yi （right） wrote the screenplay for the program.

Tu Ku-hung （left） and Meng Tze-yi （right） wrote the screenplay for the program.

（Far right） The stage director orders Empress Wu to hold court.

How does the queen Wu Tse-Tian does to her family?

The show portrayed Wu as loving the guileless prince with a pure heart.In her early years, Wu led a difficult life.

The show portrayed Wu as loving the guileless prince with a pure heart.In her early years, Wu led a difficult life.

The screenplay changed occultist Ming Ch'ung-yen into civilian minister Min Hsueh- wen （left） and General Ch'eng Wu-t'ing into military strategist Ch'eng Nan-wu （right）. At center is Wu's childhood friend, Mei Chu-ma.

The last episode saw P'an Yin-tzu made up as Empress Wu. at age 66.