The Silence of History and the Amplification of Fiction

In the official history "Records of the Three Kingdoms," there is no mention of a person named "Diao Chan." The assassination of Dong Zhuo by Lü Bu indeed took place, but in "Records of the Three Kingdoms: Biography of Lü Bu," it is only recorded as a plot by Wang Yun, with no mention of any woman involved. In other words, the image of Diao Chan is fictional, a character gradually fleshed out in later adaptations and dramas.

In "Romance of the Three Kingdoms," Diao Chan is set up as Wang Yun's adopted daughter, cleverly devising the "Chain Stratagem" to incite Lü Bu's jealousy, leading him to kill Dong Zhuo. Although this setup is not historical fact, it is filled with dramatic tension and reflects the dual expectations of female roles in literary creation: on one hand, she is the key to instigating the mutual killings of powerful ministers; on the other hand, she is also the executor of the plot, even more calm and decisive than many male characters.

This "fictional amplification" raises a question: Did Diao Chan's beauty truly lead to chaos, or was she merely a pawn in political struggles? When history is silent, literature loudly embellishes, and a female image without factual basis is shaped into the source of turmoil, precisely reflecting a deep-seated anxiety about women's participation in power.

The Double-Edged Image of Beauty and Wisdom

In "Romance of the Three Kingdoms," Diao Chan does not solely rely on her beauty. Her role lies between "bait" and "strategist," requiring both alluring appearance and the ability to navigate the power gaps between Dong Zhuo and Lü Bu, completing the psychological layout for political assassination.

In a sense, Diao Chan is the one who truly understands the ambitions and desires of men. She knows Dong Zhuo's fierce temperament and strong possessiveness, yet still dares to seek sympathy with "tearful farewells"; she also perceives Lü Bu's frivolity and vanity, skillfully manipulating his rebellious will through emotional control. In this chain of schemes, Diao Chan is both the instigator and the executor, a genuine strategic participant.

However, women who possess both beauty and intelligence are often not allowed to have a "positive" identity in traditional culture. Unlike the righteous images of strategists like Zhuge Liang and Wang Yun, Diao Chan's strategies are always packaged as "emotional schemes" and "seduction," with her wisdom overshadowed by "beauty." Even after she fulfills the great righteousness of the state, she is instead labeled as a "disaster brought by beauty," as if the cause of chaos lies entirely in her appearance, rather than in the ambitions and intrigues of a patriarchal structure.

The Deep Mechanism of the "Disaster Brought by Beauty" Label and Gender Discourse

The term "disaster brought by beauty" did not originate with Diao Chan. The "Zuo Zhuan" records that in the late Western Zhou, Bao Si "smiled and caused the fall of Zhou"; the "Book of Han" mentions "Zhao Feiyan, who brought ruin, as brothers vied for favor"; and in the Tang Dynasty, Yang Guifei was characterized as a "disaster-causing enchantress." In ancient Chinese historical texts, "the fall of a nation" and "beauty" are always cleverly juxtaposed.

This narrative pattern does not genuinely believe that women cause the decline of nations; rather, it uses women as "scapegoats" to cover up the incompetence of rulers and the imbalance of politics. Taking Diao Chan as an example, the chaos caused by Dong Zhuo originated from eunuch rule, the usurpation of power by powerful ministers, and the corruption of the court, rather than being instigated by a woman. Lü Bu's murder of his adoptive father is fundamentally driven by his character flaws and desire for power, not by emotional turmoil.

This narrative logic of "beauty causing disaster" is essentially a shift in gender discourse, projecting structural social issues onto individual women. Diao Chan becomes the carrier of this projection, her beauty serving as the developer of the story, while her agency and rationality are erased. This not only shapes the image of women as "dangerous" but also limits their true position in political and historical discourse.

The Moral Dilemma in Power Strategies

If we shift our focus from gender to power, Diao Chan in "Romance of the Three Kingdoms" also prompts reflection: in an era where "strategists abound and power plays intertwine," does a woman's strategy carry more moral tension?

Wang Yun used the "Chain Stratagem" because direct assassination of Dong Zhuo was impossible. As Dong Zhuo's "trusted aide," Lü Bu could only dismantle his loyalty through "disruption." Diao Chan's beauty and emotions were thus utilized as "moral weapons"—to incite "murderous intent" through "emotion" and to undermine "power" through "beauty."

However, are such means justifiable? This leads to a deeper discussion: when politics falls into darkness, can means still be divided into right and wrong? Diao Chan's involvement actually reflects a society's confusion and powerlessness regarding "just means." She did not actively become a disaster but was "shaped" within a patriarchal framework, becoming a pragmatic tool for resolving chaos.

Therefore, rather than questioning whether she "caused chaos," we should reflect on the true roots of disaster in power strategies: is it the ruthless political competition or the long-standing lack of institutional safeguards in centralized power struggles?

Does Beauty Obscure Women's Active Identity?

In literary history, Diao Chan ultimately has not been categorized among the "masterminds" like Zhuge Liang, Cao Cao, and Liu Bei. Although she is crucial, she remains the "passive" executor, as if all her power derives from her appearance. However, from another perspective, have we underestimated her agency?

Taking the Yuan Dynasty drama "Chain Stratagem" as an example, Diao Chan is not portrayed as weak but as someone who dares to actively engage and volunteer her service. She does not passively "exhibit beauty" but voluntarily executes the "disruption scheme" based on concerns for the survival of the state. Her image is closer to that of a chivalrous character, possessing loyalty and strategy, courage and insight.

Even in "Romance of the Three Kingdoms," Diao Chan repeatedly demonstrates psychological initiative when facing Lü Bu. She cleverly sets up "private conversations in the courtyard" and weeps in "Phoenix Pavilion," where her linguistic strategies are far more critical than her appearance.

This indicates that the so-called "beauty is alluring" is merely superficial; what truly moves Lü Bu are the "misunderstandings," "emotional contrasts," and "guilt guidance" she creates. These are the essence of psychological warfare. She does not solely rely on beauty but uses it to manipulate situations and achieve her goals. This composite identity of "beauty and strategy" is precisely what traditional narratives have simplified and obscured.

A Contemporary Reinterpretation of Diao Chan

Returning to the present, we should view Diao Chan as a complex and reconstructible character. In the historical patriarchal narrative, she is treated as the source of conflict, but in modern concepts, she might be reshaped as a historically forgotten "spy," "strategist," or "actor."

In film and television dramas and novels, the image of Diao Chan is also quietly changing. In "The Secret of the Three Kingdoms," she is portrayed as a strategic and principled female agent; in "The Flying Swords of Dragon Gate," she is seen as a symbol of female power. Through these newly crafted images, we can see a loosening of the "disaster brought by beauty" discourse.

When we shift from "she caused chaos in the world" to "how she survives in chaotic times," we will find that women's agency in the historical wheel is far greater than what narrators are willing to acknowledge. And that famous line "cutting down Dong the traitor in front of Phoenix Pavilion," if stripped of moral accusations and the gaze on appearance, may be more of a model of a woman leveraging power strategies and using softness to overcome hardness.

From this perspective, Diao Chan is not a "disaster," but rather a representative of power and wisdom coexisting, capable of making choices even under heavy oppression.