Structural Exclusion in Historical Context
First of all, it must be acknowledged that the historical conditions of the Three Kingdoms period itself limited the space for women in public narratives. As a period of turmoil from the late Eastern Han to the early Jin, the core manifestation of power during the Three Kingdoms was military mobilization and political strategy, which was almost entirely monopolized by men. Whether it was the warlords who controlled territories, the generals commanding thousands of troops, or the strategists plotting in the tent, their social roles were all assumed by men.
The role of women in this historical narrative is more of "bloodline continuers," "political marriage participants," or "court companions." For instance, Sun Shangxiang was married off by Sun Quan to Liu Bei to solidify the alliance between Wu and Shu; Zhen Shi was made a wife by Cao Pi and became a victim during the power transition; Lady Gan and Lady Mi were forced to commit suicide by jumping into a well during Liu Bei's escape. These events all show that women were more involved in history rather than being able to lead it.
Therefore, in the official historical records, the presence of women is extremely limited, with few subjective actions or words. Although the later "Romance of the Three Kingdoms" is a literary work, it is still based on historical facts, and its gender structure inherits and amplifies the limitations of historical narratives, making it difficult for women to break through their subordinate identities and enter the core.
Traditional Narratives' Rejection of the Concept of "Female Center"
From the perspective of classical Chinese literary tradition, epic narratives have always been centered around "male narration." Historical texts such as "Zuo Zhuan," "Records of the Grand Historian," and "Comprehensive Mirror to Aid in Government" almost completely ignore the subjective experiences of women. In this cultural environment, even when women appear, they usually fulfill roles such as "emotional evokers," "tragic witnesses," or "catalysts in chaotic times," rarely becoming active agents.
As a historical novel, "Romance of the Three Kingdoms" highly overlaps with historical texts in terms of values. It focuses on the rise and fall of nations, loyalty and righteousness, and the relationship between rulers and subjects, all of which inherently exclude women's right to speak. If women want to gain a sense of presence, they often have to attach themselves to a male hero—such as Huang Yueying needing to marry Zhuge Liang to "appear"; Sun Shangxiang briefly appearing due to her marriage to Liu Bei; and Diao Chan, despite having the "beauty scheme," still being credited to Wang Yun's arrangement.
Even when literary works attempt to endow women with a certain agency, this agency still operates within a "patriarchal logic." For example, Diao Chan is given the role of using her beauty to disrupt the relationship between Dong Zhuo and Lü Bu, but she is never truly recognized as a political strategist. This state of "existing but without power" constitutes the common dilemma of female roles in traditional narratives.
Why Women's Wisdom is Hard to Recognize
In the narratives of the Three Kingdoms, some female characters are implied to possess wisdom, but their intelligence is often not formally acknowledged or developed. The most typical example is Huang Yueying—wife of Zhuge Liang, who is legendary for her exceptional intelligence and for inventing the wooden ox and flowing horse. However, in "Romance of the Three Kingdoms," Huang Yueying is almost a "silent genius," her role overshadowed by Zhuge Liang's brilliance.
Similarly, Zhen Shi was granted death after Cao Pi ascended to the throne due to court struggles, and historical records briefly mention this, while later generations sympathize with her fate but have never truly attempted to write about her inner world. Sun Shangxiang is often depicted as strong-willed and armed, yet is not given space for independent judgment and political understanding.
This is not because these women lack wisdom, but because the gender cultural mechanisms of the time did not allow them to use their wisdom to change the political landscape. Once women overstepped and used their wisdom, they were often seen as "interfering in politics" or "evil women," as later exemplified by Lü Hou, Wu Zetian, and even Zhao Ji.
In a male-dominated society like the Three Kingdoms, where power is concentrated and discourse is closed, women's wisdom is actively ignored or silenced as a form of self-protection against male authority. Therefore, even if women possess strategies and judgment, they can only operate within hidden boundaries and cannot openly become the protagonists of the narrative.
Moral Ideals Suppressing Women's Agency
"Romance of the Three Kingdoms" highly praises Confucian ideals such as "loyalty, righteousness, benevolence, and filial piety," and the characterization of women also serves this moral framework. Their standards of behavior are not based on autonomous will but revolve around the traditional virtues of "virtuous and good." For example, Lady Gan's unwavering loyalty to Liu Bei and Lady Mi's suicide to protect her husband are both seen as exemplars of "virtuous wives and heroic women."
This moral narrative reinforces the "sacrificial value" of women while weakening their subjectivity as "actors." If women want to become the focus of the narrative, they must carve out new paths outside the moral dimension, which is almost impossible in the stories of the Three Kingdoms.
In contrast, the moral choices of male characters are more diverse: Guan Yu refuses to surrender to Cao Cao out of loyalty, Zhang Fei loses Jingzhou due to recklessness, and Zhuge Liang achieves great merit through strategy. They can make mistakes, vie for power, and make choices. Women, on the other hand, can only "obey," "follow their husbands," or "die for their country," with extremely singular behavioral patterns. This moral suppression makes it impossible for them to develop complex character trajectories, let alone construct a narrative structure that can adequately support the main storyline.
Case Analysis: The Fate Map of Three Female Characters
To more specifically present how women are marginalized in the Three Kingdoms, we can analyze three representative figures: Diao Chan, Sun Shangxiang, and Huang Yueying.
Although Diao Chan has significant space in "Romance of the Three Kingdoms," her agency is extremely low. Her strategy is merely a part of Wang Yun's arranged "beauty scheme," and she has neither political expression rights nor the possibility of choosing to exit, ultimately having her fate ambiguously handled in the narrative. Her "achievements" are credited to Wang Yun's cleverness rather than her own will.
Sun Shangxiang is a victim of political marriage. Married from Wu to Shu, and then called back to Wu, almost all her fate nodes are determined by her father and brothers. She once attempted to take Liu Shan back to Wu but ultimately failed. Her "strong-willed" nature is praised, yet she still cannot escape the narrative system that "serves patriarchy."
Huang Yueying is the most "promising" character among the three. Her intelligence and skills have been widely celebrated in folk legends, even earning her the title of "inventive genius." However, both historical records and the narrative deliberately downplay her existence, attributing all achievements to her husband Zhuge Liang. She becomes an "invisible talented woman," representing the most gentle yet cruel erasure of female wisdom.
These three women, despite their different personalities, are all unable to become the focus of the narrative due to structural limitations. They do not lack charm but lack pathways to break through cultural boundaries.
Possibilities of Re-narration from a Modern Perspective
It is encouraging that in recent years, with the rise of gender awareness and the diversification of narrative methods, the women of the Three Kingdoms are being rediscovered and given new life. For example, in online novels, film and television dramas, and game works, Sun Shangxiang is often portrayed as a skilled and courageous "female warrior"; Diao Chan has transformed from a single "beauty scheme" into a wise and brave "spy image"; Huang Yueying is gradually stepping out of Zhuge Liang's shadow, being shaped into an "engineering genius" and "female strategist."
This modern re-narration, while still considering commercial and entertainment packaging, has to some extent broken the barriers of traditional gender narratives, allowing the women of the Three Kingdoms to no longer be merely beautiful supporting characters, silent mothers, or tragic wives, but rather thinkers, decision-makers, and actors who can control their destinies.
The future stories of the Three Kingdoms may no longer be a monotonous "heroic epic," but rather a "chorus of diverse voices" where different genders, classes, and backgrounds can be heard. Only in this way can the world of the Three Kingdoms truly return to its historical essence: a turbulent era co-constructed by all beings.