THE GREAT BELL

by Norman Hinsdale Pitman · from Chinese Wonder Book

fairy tale sacrifice solemn Ages 8-14 4094 words 18 min read
Cover: THE GREAT BELL

Adapted Version

CEFR A1 Age 5 966 words 5 min Canon 88/100

Long, long ago, there was a King. He lived in a big city. He sat on his golden throne. He was very sad. He wanted to do a great thing. A great thing for all his people. But what? He did not know. "What can I do?" he said. "I want to help my people." He looked out the window. He saw the city below. So many people! He wanted them all to be happy.

Then his helper came close. "I know!" said the helper. "Make a big bell! A very big bell! Put it in the tall tower. All can hear it ring! It will make them happy." The King smiled. "Yes! A big bell!" "But who can make it?" "Kwan-yu can," said the helper. "He makes things from metal. He is the best in the land."

So the King called for Kwan-yu. Kwan-yu came to the palace. He walked up the long steps. He saw the golden throne. He bowed to the King. "I will try," he said. His daughter Ko-ai was worried. "Be safe, Papa," she said. She held his hand tight. She looked up at him. Her eyes were big and round. Mama smiled at Ko-ai. "It will be fine," said Mama. "Your papa is very good." Ko-ai nodded. But she still felt worried inside. She held Papa's hand all the way home.

The King told Kwan-yu his wish. "I want a very big bell. Very pretty. Put gold in it. Put silver in it. Put brass in it. And put wise words on it." Kwan-yu listened. He nodded slowly. "I will do my best," he said. He bowed to the King. Then he went home to start.

Kwan-yu worked very hard. He read old books. He got helpers. He made a big fire. The fire was very hot. It glowed red and orange. He melted the metals. But gold and silver and brass? They did not want to mix. He tried and tried and tried. It was so hard. The gold went one way. The silver went the other way. The brass sat in the middle. "Mix!" said Kwan-yu. But they did not mix.

The first try did not work. The metals did not mix. The bell broke. "Oh no!" said Kwan-yu. He was so sad. He sat by the cold fire. The King was not happy. "Try again," said the King. Kwan-yu nodded. He would try again. He had to try again.

The second try did not work. The bell broke again. Crack! It fell apart. Kwan-yu sat down. He put his head in his hands. He was very, very sad. Ko-ai saw her papa's sad face. "Oh, Papa," she said. She hugged him tight. "I want to help you." She patted his back. "Do not be sad, Papa."

Ko-ai went to see a Wise Old Man. He lived in a little house. He had a long white beard. His eyes were kind and warm. "Please help my papa," said Ko-ai. The Wise Old Man looked at her. He smiled a big smile. "You have a good heart," he said. "The bell needs a special thing," he said. "It needs the love of a good heart. A song full of love can help. The metals will listen to love." Ko-ai's eyes got big. "I can do that!" she said. "I can sing! I love my papa so much!" The Wise Old Man nodded. "Then you can help," he said.

Ko-ai kept it a surprise. She did not tell Papa. She did not tell Mama. At night, she sang her song. She sang it soft and sweet. She sang it with all her love. She sang it to the stars. She was ready.

The big day came. The King came to watch. All the people came to watch. The fire was hot. Very, very hot. The metals melted. They glowed bright and white. "Begin!" said the King. Ko-ai stood close to the big pot. She took a deep breath. Then she sang. She sang her special song. She sang with all her heart. Her voice was clear and sweet. It filled the air like light. A bright light came from the metals. Gold and silver and brass began to dance. They began to mix! Round and round they went. Ko-ai sang and danced. She spun in a circle. One little shoe fell off her foot. But she did not stop. She sang and sang and sang. The metals listened to her love. They mixed as one at last!

Kwan-yu picked up her little shoe. He held it close to his heart. He looked at Ko-ai. His eyes were wet. "My brave girl," he said. "You did it." He was so proud. He hugged her tight. Ko-ai laughed. "I sang for you, Papa!" she said.

The metal went into the mold. All waited and waited. And then they saw it. The most pretty bell! It was big and bright. It shone like the sun. They put it up in the tall tower. DONG! DONG! DONG! The bell rang out. All could hear it! You could hear Ko-ai's song in it. Sweet and warm and bright. Between the big DONGs, a whisper came. "My shoe... my shoe..." All smiled. "That is Ko-ai!" they said. "She lost her shoe!" They laughed. It was so sweet.

The King smiled a big smile. He looked at Ko-ai. He looked at Kwan-yu. "This is a good bell," he said. "It has wise words on it. But Ko-ai's love is the best thing. Better than all the wise words." All cheered. They clapped their hands. Ko-ai held her papa's hand. Kwan-yu held the little shoe. And the big bell sang over the city. DONG! DONG! DONG!

And if you listen very close, you can hear Ko-ai's song today.

Original Story 4094 words · 18 min read

THE GREAT BELL

The mighty Yung-lo sat on the great throne surrounded by a hundred attendants. He was sad, for he could think of no wonderful thing to do for his country. He flirted his silken fan nervously and snapped his long finger-nails in the impatience of despair.

"Woe is me!" he cried at last, his sorrow getting the better of his usual calmness. "I have picked up the great capital and moved it from the South to Peking and have built here a mighty city. I have surrounded my city with a wall, even thicker and greater than the famous wall of China. I have constructed in this city scores of temples and palaces. I have had the wise men and scholars compile a great book of wisdom, made up of 23,000 volumes, the largest and most wonderful collection of learning ever gathered together by the hands of men. I have built watch-towers, bridges, and giant monuments, [22] and now, alas! as I approach the end of my days as ruler of the Middle Kingdom there is nothing more to be done for my people. Better far that I should even now close my tired eyes for ever and mount up on high to be the guest of the dragon, than live on in idleness, giving to my children an example of uselessness and sloth."

"But, your Majesty," began one of Yung-lo's most faithful courtiers, named Ming-lin, falling upon his knees and knocking his head three times on the ground, "if you would only deign to listen to your humble slave, I would dare to suggest a great gift for which the many people of Peking, your children, would rise up and bless you both now and in future generations."

"Only tell me of such a gift and I will not only grant it to the imperial city, but as a sign of thanksgiving to you for your sage counsel I will bestow upon you the royal peacock feather."

"It is not for one of my small virtues," replied the delighted official, "to wear the feather when others so much wiser are denied it, but if it please your Majesty, remember that in the northern district of the city there has been erected a bell-tower which as yet remains empty. The people of the city need a giant bell to sound out the fleeting hours of the day, that they may be urged on to perform [23] their labours and not be idle. The water-clock already marks the hours, but there is no bell to proclaim them to the populace."

"A good suggestion in sooth," answered the Emperor, smiling, "and yet who is there among us that has skill enough in bell-craft to do the task you propose? I am told that to cast a bell worthy of our imperial city requires the genius of a poet and the skill of an astronomer."

"True, most mighty one, and yet permit me to say that Kwan-yu, who so skilfully moulded the imperial cannon, can also cast a giant bell. He alone of all your subjects is worthy of the task, for he alone can do it justice."

Now, the official who proposed the name of Kwan-yu to the Emperor had two objects in so doing. He wished to quiet the grief of Yung-lo, who was mourning because he had nothing left to do for his people, and, at the same time, to raise Kwan-yu to high rank, for Kwan-yu's only daughter had for several years been betrothed to Ming-lin's only son, and it would be a great stroke of luck for Ming-lin if his daughter-in-law's father should come under direct favour of the Emperor.

"Depend upon it, Kwan-yu can do the work better than any [24] other man within the length and breadth of your empire," continued Ming-lin, again bowing low three times.

"Then summon Kwan-yu at once to my presence, that I may confer with him about this important business."

In great glee Ming-lin arose and backed himself away from the golden throne, for it would have been very improper for him to turn his coat-tails on the Son of Heaven.

But it was with no little fear that Kwan-yu undertook the casting of the great bell.

"Can a carpenter make shoes?" he had protested, when Ming-lin had broken the Emperor's message to him.

"Yes," replied the other quickly, "if they be like those worn by the little island dwarfs, and, therefore, made of wood. Bells and cannon are cast from similar material. You ought easily to adapt yourself to this new work."

Now when Kwan-yu's daughter found out what he was about to undertake, she was filled with a great fear.

"Oh, honoured father," she cried, "think well before you give this promise. As a cannon-maker you are successful, but who can say about the other task? And if you fail, the Great One's wrath will fall heavily upon you."

[25] "Just hear the girl," interrupted the ambitious mother. "What do you know about success and failure? You'd better stick to the subject of cooking and baby-clothes, for you will soon be married. As for your father, pray let him attend to his own business. It is unseemly for a girl to meddle in her father's affairs."

And so poor Ko-ai—for that was the maiden's name—was silenced, and went back to her fancy-work with a big tear stealing down her fair cheek, for she loved her father dearly and there had come into her heart a strange terror at thought of his possible danger.

Meanwhile, Kwan-yu was summoned to the Forbidden City, which is in the centre of Peking, and in which stands the Imperial palace. There he received his instructions from the Son of Heaven.

"And remember," said Yung-lo in conclusion, "this bell must be so great that the sound of it will ring out to a distance of thirty-three miles on every hand. To this end, you should add in proper proportions gold and brass, for they give depth and strength to everything with which they mingle. Furthermore, in order that this giant may not be lacking in the quality of sweetness, you must add silver in due proportion, while the sayings of the sages must be graven on its sides."

Now when Kwan-yu had really received his commission from [26] the Emperor he searched the bookstalls of the city to find if possible some ancient descriptions of the best methods used in bell-casting. Also he offered generous wages to all who had ever had experience in the great work for which he was preparing. Soon his great foundry was alive with labourers; huge fires were burning; great piles of gold, silver and other metals were lying here and there, ready to be weighed.

Whenever Kwan-yu went out to a public tea-house all of his friends plied him with questions about the great bell.

"Will it be the largest in the world?"

"Oh, no," he would reply, "that is not necessary, but it must be the sweetest-toned, for we Chinese strive not for size, but for purity; not for greatness, but for virtue."

"When will it be finished?"

"Only the gods can tell, for I have had little experience, and perhaps I shall fail to mix the metals properly."

Every few days the Son of Heaven himself would send an imperial messenger to ask similar questions, for a king is likely to be just as curious as his subjects, but Kwan-yu would always modestly reply that he could not be certain; it was very doubtful when the bell would be ready.

At last, however, after consulting an astrologer, Kwan-yu [27] appointed a day for the casting, and then there came another courtier robed in splendid garments, saying that at the proper hour the Great One himself would for the first time cross Kwan-yu's threshold—would come to see the casting of the bell he had ordered for his people. On hearing this, Kwan-yu was sore afraid, for he felt that somehow, in spite of all his reading, in spite of all the advice he had received from well-wishers, there was something lacking in the mixture of the boiling metals that would soon be poured into the giant mould. In short, Kwan-yu was about to discover an important truth that this great world has been thousands of years in learning—namely, that mere reading and advice cannot produce skill, that true skill can come only from years of experience and practice. On the brink of despair, he sent a servant with money to the temple, to pray to the gods for success in his venture. Truly, despair and prayer rhyme in every language.

Ko-ai, his daughter, was also afraid when she saw the cloud on her father's brow, for she it was, you remember, who had tried to prevent him from undertaking the Emperor's commission. She also went to the temple, in company with a faithful old servant, and prayed to heaven.

The great day dawned. The Emperor and his courtiers were [28] assembled, the former sitting on a platform built for the occasion. Three attendants waved beautiful hand-painted fans about his imperial brow, for the room was very warm, and a huge block of ice lay melting in a bowl of carved brass, cooling the hot air before it should blow upon the head of the Son of Heaven.

Kwan-yu's wife and daughter stood in a corner at the back of the room, peering anxiously towards the cauldron of molten liquid, for well they knew that Kwan-yu's future rank and power depended on the success of this enterprise. Around the walls stood Kwan-yu's friends, and at the windows groups of excited servants strained their necks, trying to catch a glimpse of royalty, and for once afraid to chatter. Kwan-yu himself was hurrying hither and thither, now giving a final order, now gazing anxiously at the empty mould, and again glancing towards the throne to see if his imperial master was showing signs of impatience.

At last all was ready; everyone was waiting breathlessly for the sign from Yung-lo which should start the flowing of the metal. A slight bow of the head, a lifting of the finger! The glowing liquid, hissing with delight at being freed even for a moment from its prison, ran forward faster and faster along the channel that led into the great earthen bed.

[29] The bell-maker covered his eyes with his fan, afraid to look at the swiftly-flowing stream. Were all his hopes to be suddenly dashed by the failure of the metals to mix and harden properly? A heavy sigh escaped him as at last he looked up at the thing he had created. Something had indeed gone wrong; he knew in the flash of an eye that misfortune had overtaken him.

Yes! sure enough, when at last the earthen casting had been broken, even the smallest child could see that the giant bell, instead of being a thing of beauty was a sorry mass of metals that would not blend.

"Alas!" said Yung-lo, "here is indeed a mighty failure, but even in this disappointment I see an object lesson well worthy of consideration, for behold! in yonder elements are all the materials of which this country is made up. There are gold and silver and the baser metals. United in the proper manner they would make a bell so wonderfully beautiful and so pure of tone that the very spirits of the Western heavens would pause to look and listen. But divided they form a thing that is hideous to eye and ear. Oh, my China! how many wars are there from time to time among the different sections, weakening the country and making it poor! If only all these peoples, great and small, the gold and silver and the baser elements, would [30] unite, then would this land be really worthy of the name of the Middle Kingdom!"

The courtiers all applauded this speech of the great Yung-lo, but Kwan-yu remained on the ground where he had thrown himself at the feet of his sovereign. Still bowing his head and moaning, he cried out:

"Ah! your Majesty! I urged you not to appoint me, and now indeed you see my unfitness. Take my life, I beg you, as a punishment for my failure."

"Rise, Kwan-yu," said the great Prince. "I would be a mean master indeed if I did not grant you another trial. Rise up and see that your next casting profits by the lesson of this failure."

So Kwan-yu arose, for when the King speaks, all men must listen. The next day he began his task once more, but still his heart was heavy, for he knew not the reason of his failure and was therefore unable to correct his error. For many months he laboured night and day. Hardly a word would he speak to his wife, and when his daughter tried to tempt him with a dish of sunflower seed that she had parched herself, he would reward her with a sad smile, but would by no means laugh with her and joke as had formerly been his custom. On the first and fifteenth day of every moon he went himself to the [31] temple and implored the gods to grant him their friendly assistance, while Ko-ai added her prayers to his, burning incense and weeping before the grinning idols.

Again the great Yung-lo was seated on the platform in Kwan-yu's foundry, and again his courtiers hovered round him, but this time, as it was winter, they did not flirt the silken fans. The Great One was certain that this casting would be successful. He had been lenient with Kwan-yu on the first occasion, and now at last he and the great city were to profit by that mercy.

Again he gave the signal; once more every neck was craned to see the flowing of the metal. But, alas! when the casing was removed it was seen that the new bell was no better than the first. It was, in fact, a dreadful failure, cracked and ugly, for the gold and silver and the baser elements had again refused to blend into a united whole.

With a bitter cry which touched the hearts of all those present, the unhappy Kwan-yu fell upon the floor. This time he did not bow before his master, for at the sight of the miserable conglomeration of useless metals his courage failed him, and he fainted. When at last he came to, the first sight that met his eyes was the scowling face of Yung-lo. Then he heard, as in a dream, the stern voice of the Son of Heaven:

[32] "Unhappy Kwan-yu, can it be that you, upon whom I have ever heaped my favours, have twice betrayed the trust? The first time, I was sorry for you and willing to forget, but now that sorrow has turned into anger—yea, the anger of heaven itself is upon you. Now, I bid you mark well my words. A third chance you shall have to cast the bell, but if on that third attempt you fail—then by order of the Vermilion Pencil both you and Ming-lin, who recommended you, shall pay the penalty."

For a long time after the Emperor had departed, Kwan-yu lay on the floor surrounded by his attendants, but chief of all those who tried to restore him was his faithful daughter. For a whole week he wavered between life and death, and then at last there came a turn in his favour. Once more he regained his health, once more he began his preparations.

Yet all the time he was about his work his heart was heavy, for he felt that he would soon journey into the dark forest, the region of the great yellow spring, the place from which no pilgrim ever returns. Ko-ai, too, felt more than ever that her father was in the presence of a great danger.

"Surely," she said one day to her mother, "a raven must have flown over his head. He is like the proverb of the blind man on the [33] blind horse coming at midnight to a deep ditch. Oh, how can he cross over?"

Willingly would this dutiful daughter have done anything to save her loved one. Night and day she racked her brains for some plan, but all to no avail.

On the day before the third casting, as Ko-ai was sitting in front of her brass mirror braiding her long black hair, suddenly a little bird flew in at the window and perched upon her head. Immediately the startled maiden seemed to hear a voice as if some good fairy were whispering in her ear:

"Do not hesitate. You must go and consult the famous juggler who even now is visiting the city. Sell your jade-stones and other jewels, for this man of wisdom will not listen unless his attention is attracted by huge sums of money."

The feathered messenger flew out of her room, but Ko-ai had heard enough to make her happy. She despatched a trusted servant to sell her jade and her jewels, charging him on no account to tell her mother. Then, with a great sum of money in her possession she sought out the magician who was said to be wiser than the sages in knowledge of life and death.

"Tell me," she implored, as the greybeard summoned her to his [34] presence, "tell me how I can save my father, for the Emperor has ordered his death if he fails a third time in the casting of the bell."

The astrologer, after plying her with questions, put on his tortoise-shell glasses and searched long in his book of knowledge. He also examined closely the signs of the heavens, consulting the mystic tables over and over again. Finally, he turned toward Ko-ai, who all the time had been awaiting his answer with impatience.

"Nothing could be plainer than the reason of your father's failure, for when a man seeks to do the impossible, he can expect Fate to give him no other answer. Gold cannot unite with silver, nor brass with iron, unless the blood of a maiden is mingled with the molten metals, but the girl who gives up her life to bring about the fusion must be pure and good."

With a sigh of despair Ko-ai heard the astrologer's answer. She loved the world and all its beauties; she loved her birds, her companions, her father; she had expected to marry soon, and then there would have been children to love and cherish. But now all these dreams of happiness must be forgotten. There was no other maiden to give up her life for Kwan-yu. She, Ko-ai, loved her father and must make the sacrifice for his sake.

And so the day arrived for the third trial, and a third time [35] Yung-lo took his place in Kwan-yu's factory, surrounded by his courtiers. There was a look of stern expectancy on his face. Twice he had excused his underling for failure. Now there could be no thought of mercy. If the bell did not come from its cast perfect in tone and fair to look upon, Kwan-yu must be punished with the severest punishment that could be meted out to man—even death itself. That was why there was a look of stern expectancy on Yung-lo's face, for he really loved Kwan-yu and did not wish to send him to his death.

As for Kwan-yu himself, he had long ago given up all thought of success, for nothing had happened since his second failure to make him any surer this time of success. He had settled up his business affairs, arranging for a goodly sum to go to his beloved daughter; he had bought the coffin in which his own body would be laid away and had stored it in one of the principal rooms of his dwelling; he had even engaged the priests and musicians who should chant his funeral dirge, and, last but not least, he had arranged with the man who would have charge of chopping off his head, that one fold of skin should be left uncut, as this would bring him better luck on his entry into the spiritual world than if the head were severed entirely from the body.

[36] And so we may say that Kwan-yu was prepared to die. In fact, on the night before the final casting he had a dream in which he saw himself kneeling before the headsman and cautioning him not to forget the binding agreement the latter had entered into.

Of all those present in the great foundry, perhaps the devoted Ko-ai was the least excited. Unnoticed, she had slipped along the wall from the spot where she had been standing with her mother and had planted herself directly opposite the huge tank in which the molten, seething liquid bubbled, awaiting the signal when it should be set free. Ko-ai gazed at the Emperor, watching intently for the well-known signal. When at last she saw his head move forward she sprang with a wild leap into the boiling liquid, at the same time crying in her clear, sweet voice:

"For thee, dear father! It is the only way!"

The molten white metal received the lovely girl into its ardent embrace, received her, and swallowed her up completely, as in a tomb of liquid fire.

And Kwan-yu—what of Kwan-yu, the frantic father? Mad with grief at the sight of his loved one giving up her life, a sacrifice to save him, he had sprung forward to hold her back from her terrible death, but had succeeded only in catching one of her tiny jewelled [37] slippers as she sank out of sight for ever—a dainty, silken slipper, to remind him always of her wonderful sacrifice. In his wild grief as he clasped this pitiful little memento to his heart he would himself have leaped in and followed her to her death, if his servants had not restrained him until the Emperor had repeated his signal and the liquid had been poured into the cast. As the sad eyes of all those present peered into the molten river of metals rushing to its earthen bed, they saw not a single sign remaining of the departed Ko-ai.

This, then, my children, is the time-worn legend of the great bell of Peking, a tale that has been repeated a million times by poets, story-tellers and devoted mothers, for you must know that on this third casting, when the earthen mould was removed, there stood revealed the most beautiful bell that eye had ever looked upon, and when it was swung up into the bell-tower there was immense rejoicing among the people. The silver and the gold and the iron and the brass, held together by the blood of the virgin, had blended perfectly, and the clear voice of the monster bell rang out over the great city, sounding a deeper, richer melody than that of any other bell within the limits of the Middle Kingdom, or, for that matter, of all the world. And, strange to say, even yet the deep-voiced colossus seems to cry out the name of the maiden who gave herself a living sacrifice, "Ko-ai! [38] Ko-ai! Ko-ai!" so that all the people may remember her deed of virtue ten thousand years ago. And between the mellow peals of music there often seems to come a plaintive whisper that may be heard only by those standing near, "Hsieh! hsieh"—the Chinese word for slipper. "Alas!" say all who hear it, "Ko-ai is crying for her slipper. Poor little Ko-ai!"

And now, my dear children, this tale is almost finished, but there is still one thing you must by no means fail to remember. By order of the Emperor, the face of the great bell was graven with precious sayings from the classics, that even in its moments of silence the bell might teach lessons of virtue to the people.

"Behold," said Yung-lo, as he stood beside the grief-stricken father, "amongst all yonder texts of wisdom, the priceless sayings of our honoured sages, there is none that can teach to my children so sweet a lesson of filial love and devotion as that one last act of your devoted daughter. For though she died to save you, her deed will still be sung and extolled by my people when you are passed away, yea, even when the bell itself has crumbled into ruins."

[39]


Story DNA fairy tale · solemn

Moral

True devotion and sacrifice can achieve the impossible and leave a lasting legacy, even when faced with insurmountable odds and unreasonable demands.

Plot Summary

Emperor Yung-lo commissions a magnificent bell, an impossible task given to cannon-maker Kwan-yu. After two failed attempts, Kwan-yu faces death, prompting his devoted daughter, Ko-ai, to seek a solution. A magician reveals that only a pure maiden's sacrifice can fuse the metals. During the third casting, Ko-ai leaps into the molten metal, ensuring the bell's success. The bell is cast perfectly, but its mournful chime forever echoes Ko-ai's name and a whisper for her lost slipper, commemorating her ultimate act of filial love.

Themes

filial pietysacrificeduty vs. impossible demandsthe value of experience

Emotional Arc

despair to tragic triumph

Writing Style

Voice: third person omniscient
Pacing: moderate
Descriptive: moderate
Techniques: direct address to reader, rule of three (bell castings), foreshadowing, symbolism

Narrative Elements

Conflict: person vs. fate
Ending: tragic
Magic: talking bird delivering a message, magician/astrologer with supernatural knowledge, the bell's sound carrying a spirit's voice and a whisper
the Great Bell (symbol of impossible achievement, sacrifice, lasting memory)Ko-ai's slipper (symbol of her lost life, her father's grief, a tangible memento)molten metal (symbol of transformation, destruction, creation)

Cultural Context

Origin: Chinese
Era: timeless fairy tale

The story references Emperor Yung-lo, a historical figure from the Ming Dynasty (early 15th century) who did move the capital to Peking (Beijing) and commissioned grand projects, including the Yongle Encyclopedia. The legend of the Great Bell is a well-known Chinese folk tale, often associated with the Yongle Bell or other large bells in China.

Plot Beats (14)

  1. Emperor Yung-lo, feeling he has no more great deeds to accomplish, expresses despair.
  2. Courtier Ming-lin suggests casting a giant bell for Peking and recommends Kwan-yu, a cannon-maker, for the task, motivated by a family betrothal.
  3. Kwan-yu reluctantly accepts the commission, despite his daughter Ko-ai's premonitions of danger and his wife's dismissal of her fears.
  4. The Emperor gives specific, demanding instructions for the bell's size, materials (gold, brass, silver), and inscriptions.
  5. Kwan-yu diligently prepares, researching ancient methods and hiring skilled workers, but expresses doubt about his ability to mix the metals correctly.
  6. The first casting fails, causing great distress and fear for Kwan-yu's life.
  7. The second casting also fails, further endangering Kwan-yu and increasing Ko-ai's anxiety.
  8. Ko-ai, deeply worried, consults a magician who reveals that only the blood of a pure maiden can fuse the metals for the bell.
  9. Ko-ai resolves to make the sacrifice, keeping her decision secret from her mother.
  10. On the day of the third casting, Kwan-yu has made peace with his impending death, having arranged his affairs and funeral.
  11. As the Emperor gives the signal for the molten metal to be poured, Ko-ai leaps into the cauldron, crying out for her father.
  12. Kwan-yu, in a desperate attempt to save her, only manages to catch one of her jeweled slippers as she is consumed by the molten metal.
  13. The bell is successfully cast, emerging perfect and beautiful, its sound carrying Ko-ai's name and a plaintive whisper for her slipper.
  14. The Emperor declares that Ko-ai's act of filial love is the greatest lesson of virtue, surpassing all the sages' sayings inscribed on the bell.

Characters 6 characters

Yung-lo ★ protagonist

human adult male

Implied to be a powerful and regal figure, given his position as Emperor.

Attire: Silken fan, imperial robes appropriate for a Chinese Emperor.

Sitting on a great throne, nervously flirting a silken fan.

Pensive, easily despondent, demanding, ultimately appreciative of sacrifice.

Image Prompt & Upload
A young man in his late teens with a determined yet kind expression, standing tall with confident posture. He has dark, shoulder-length hair tied back loosely, and warm brown eyes. He wears a simple, earth-toned tunic with rolled-up sleeves, dark trousers, and sturdy leather boots. A worn leather satchel is slung across his chest, and he holds a smooth wooden walking staff in his right hand. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.

Ming-lin ◆ supporting

human adult male

Not explicitly described.

Attire: Courtiers' attire, likely elaborate and formal.

Bowing low three times before the Emperor, seeking personal gain.

Ambitious, cunning, loyal (to his own interests and the Emperor), persuasive.

Image Prompt & Upload
A young East Asian woman in her early twenties with a gentle, supportive expression. She has shoulder-length black hair tied in a simple low ponytail with a few loose strands framing her face. She wears a soft, moss-green tunic with intricate leaf embroidery along the collar and cuffs, over cream-colored linen trousers. A small, woven satchel is slung across her body. Her posture is relaxed yet attentive, one hand resting lightly on her satchel, as if ready to offer help. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.

Kwan-yu ◆ supporting

human adult male

Not explicitly described, but known for his skill as a cannon-maker.

Attire: Practical clothing suitable for a craftsman, perhaps with some indication of his status.

Clutching Ko-ai's tiny jewelled slipper in grief.

Skilled, fearful, devoted father, resigned to fate.

Image Prompt & Upload
A kindly middle-aged man with a weathered face and twinkling eyes, wearing a hooded brown robe and sturdy boots. He carries a lantern in one hand and has a satchel slung over his shoulder. His posture is confident yet approachable, with a slight bow. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature

Ko-ai ★ protagonist

human young adult female

Fair cheek, lovely girl, tiny jewelled slippers.

Attire: Fancy-work, tiny jewelled slippers, implied to be wearing traditional Chinese maiden's attire.

Leaping into the boiling molten metal, crying 'For thee, dear father!'

Devoted, loving, self-sacrificing, pure, good.

Image Prompt & Upload
A young girl around 10-12 years old with a determined yet kind expression. She has long, wavy chestnut brown hair, partially braided with small wildflowers woven in. She wears a practical, forest-green tunic dress over brown leggings and sturdy leather boots. A deep blue hooded cloak is fastened at her neck with a simple wooden toggle. She stands confidently, one hand resting on a worn leather satchel at her hip, the other holding a smooth, carved wooden staff. Her posture is upright and ready for adventure. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.

Ko-ai's Mother ○ minor

human adult female

Not explicitly described.

Attire: Traditional Chinese women's attire.

Interrupting Ko-ai to tell her to stick to cooking and baby-clothes.

Ambitious, dismissive of her daughter's concerns, practical.

Image Prompt & Upload
A middle-aged woman with kind, gentle eyes and soft, slightly weathered features. Her hair is a warm chestnut brown, neatly tied back in a simple bun with a few loose strands framing her face. She wears a modest, long-sleeved dress of muted sage green, cinched at the waist with a woven belt, and a simple cream-colored apron. Her expression is warm and welcoming, with a soft, reassuring smile. She stands with a relaxed, nurturing posture, one hand resting gently on her hip. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.

The Astrologer ○ minor

human adult male

Not explicitly described.

Attire: Robes or attire befitting a scholar or mystic.

Delivering the prophecy about the maiden's blood to Ko-ai.

Knowledgeable, fatalistic, delivers grim prophecies.

Image Prompt & Upload
An elderly man with a long, flowing white beard and deep wrinkles, wearing a dark blue velvet robe embroidered with silver constellations and moons. He holds a polished brass astrolabe in one weathered hand, gazing intently at a star chart spread on an ancient wooden table. His posture is slightly hunched with scholarly focus, surrounded by tall shelves of leather-bound books and celestial instruments in a circular stone observatory. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Locations 4 locations
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The Imperial Throne Room

indoor Implied to be temperate, as it's indoors.

A grand chamber where the mighty Yung-lo sits on a great throne, surrounded by a hundred attendants. It is a place of power and formality.

Mood: Formal, somber, initially despairing, then hopeful.

Emperor Yung-lo expresses his sadness and receives Ming-lin's suggestion for the great bell.

great throne hundred attendants silken fan golden throne
Image Prompt & Upload
A vast, imposing throne room within a Forbidden City palace, viewed from the entrance. Late afternoon sun streams through high latticed windows, casting long, dramatic shafts of light across the polished black stone floor, illuminating swirling dust motes. The immense space is defined by towering red-lacquered pillars supporting a coffered ceiling painted with golden dragons. At the far end, upon a raised marble dais, sits the enormous, ornately carved Dragon Throne, draped in yellow silk, empty and waiting. The air is still and formal, heavy with the scent of aged wood and incense. The color palette is dominated by imperial reds, deep golds, and dark, polished woods, creating an atmosphere of absolute power and solemn ceremony. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration
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The Forbidden City / Imperial Palace

indoor Varies

The central district of Peking where the Imperial Palace stands, a place of immense power and authority.

Mood: Authoritative, imposing, a place where imperial decrees are given.

Kwan-yu is summoned here to receive his commission directly from the Emperor for casting the great bell.

Imperial Palace Forbidden City walls
Image Prompt & Upload
At twilight, the Imperial Palace complex glows under a deep indigo sky, the last rays of sunset igniting the vermillion walls and sweeping golden roofs of the Hall of Supreme Harmony. A serene, still moat reflects the majestic architecture and the emerging stars. Traditional stone bridges arch over the water, leading to grand gateways with intricate wooden brackets. Ancient cypress trees line the vast courtyards, their dark silhouettes contrasting with the warm lantern light beginning to emanate from within the pavilions. The atmosphere is one of profound silence and timeless authority, with a faint mist rising from the moat, softening the edges of the immense, symmetrical structures. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
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Kwan-yu's Foundry

indoor day Hot due to the molten metal, regardless of external weather.

A large industrial space with a huge tank where molten, seething liquid bubbles, awaiting the signal to be set free. It is a place of intense heat and dangerous work.

Mood: Tense, anxious, dangerous, ultimately tragic and then triumphant.

The three attempts to cast the bell take place here, culminating in Ko-ai's sacrifice and the successful casting of the great bell.

huge tank molten, seething liquid earthen mould furnaces
Image Prompt & Upload
A vast, cavernous foundry interior under a starless night sky, oppressive with heat. In the center, a colossal, reinforced tank holds a violently seething pool of molten metal, its surface a churning, incandescent orange and red, casting a hellish glow across the space. Thick, dark pipes and chains hang from the ceiling, dripping with condensation. The floor is stained, cracked concrete, littered with heavy tools and slag. The air shimmers with heat distortion. Light from the molten mass and sparse, flickering industrial lamps creates deep, dramatic shadows on the soot-blackened walls and towering machinery. The atmosphere is one of immense, contained power and imminent danger. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration
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The Bell-Tower in the Northern District of Peking

outdoor day Varies, but the sound of the bell rings out over the city.

A newly erected tower in the northern district of the city, initially empty, later housing the magnificent great bell.

Mood: Initially expectant, then filled with immense rejoicing and later, a sense of enduring memory and sorrow.

The completed great bell is swung into this tower, and its unique sound, carrying Ko-ai's name and a whisper of her slipper, becomes a permanent feature of the city.

bell-tower great bell cityscape of Peking
Image Prompt & Upload
Dawn light breaks over the tiled rooftops of Peking's Northern District, casting long shadows from the newly erected Bell-Tower. The majestic octagonal structure of grey brick and dark wood rises into a misty, peach-colored sky, its curved eaves and intricate latticework silhouetted. The tower's arched entrance is empty, awaiting the great bell. Below, a quiet cobblestone courtyard is lined with bare willow trees and stone lanterns. The air is cool and still, with a hint of morning fog clinging to the traditional hutong alleyways that radiate from the tower's base. The color palette features soft dawn pinks, weathered greys, and deep indigo shadows. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration