In ancient China, language reflected hierarchy, and nowhere was this clearer than in the titles and pronouns used by members of the imperial family and court. Every word uttered in the Forbidden City was steeped in ritual; how one referred to oneself or addressed another could display humility, authority, or even subtle defiance. These pronouns were not mere words—they were symbols of power, tradition, and Confucian etiquette, shaping the rhythm of court life for over a thousand years.
This chapter explores the self-pronouns used by emperors, crown princes, empresses, concubines, and officials, showing how speech served as a constant reminder of rank. It also includes fiction-friendly expansions, allowing these titles to be used more flexibly for storytelling, including scenarios where women adopt traditionally male pronouns for dramatic effect.
1. 朕 (Zhèn) — Exclusive for the Emperor
Meaning: "I, the Emperor"
Who Used It: The Emperor (皇帝, huángdì) only.
Usage: This became the standard first-person pronoun for emperors starting in the Qin Dynasty. It signified absolute authority and divine mandate, as the Emperor was seen as the "Son of Heaven (天子, tiānzǐ)."
Historical Use:
The character 朕 (Zhèn) was the emperor's exclusive self-pronoun, meaning "I, the Emperor." It became standardized in the Qin Dynasty when Qin Shi Huang unified China and declared himself the "First Emperor" (始皇帝, Shǐ Huángdì). Before this era, zhèn simply meant "self," but under imperial rule, its use became strictly reserved for the Son of Heaven. Any other person daring to use it would be seen as committing treason.
When an emperor spoke as zhèn, every word carried divine authority. Court documents, edicts, and decrees always began with "朕曰" ("Zhèn says"), reflecting the emperor's absolute power.
In Fiction:
In fantasy or alternate-history settings, zhèn can be used by female emperors, cementing their legitimacy as equals to male rulers, much like Wu Zetian. Some authors also allow powerful rulers of other kingdoms to use zhèn to create tension or display arrogance.
I usually translate zhèn with 'Royal We'. Because in Classical Chinese, 朕 (zhèn) is a first-person pronoun exclusively used by the emperor. It directly translates to "I", but it carries imperial authority. It's never used by ordinary people, only by the ruler.
"We" — for royal speech consistency
"I" — for a more modern and literal tone (less recommended for historical context)
"Us" — when the sentence structure makes it smoother, often in rhetorical phrasing or questions
"We" = replaces "I" in declarative sentences.
Example: "We are pleased with your service."
"Us" = replaces "me" in object position.
Example: "Bring Us the document."
"Our" = replaces "my" to show possession.
Example: "Our loyal subject has served well."
2. 孤 (Gū) — Used by Crown Prince or Nobility
Meaning: "I, the lonely one" or "I, the heir apparent"
Who Used It: Primarily Crown Princes (太子, tàizǐ) or high-ranking rulers such as regional kings.
Usage: Shows humility while still expressing royal authority. Nobles sometimes used 孤家 (gūjiā) as well.
Example: "孤以天下为重" – "I (the Crown Prince) place the world above all."
Sometimes I see '孤' be translated as 'lone'. Like "Do you think Lone didn't know about that?" While the other '孤' is often left untranslated because there's no equivalent pronouns in western counterpart.
Historical Use:
The Crown Prince (太子, Tàizǐ) referred to themselves as 孤 (Gū), meaning "the lonely one." This humble term reflected the burden of responsibility and isolation that came with being heir to the throne. Princes of royal blood or regional kings (诸侯王, Zhūhóu Wáng) also used this pronoun, emphasizing their noble yet solitary position.
In Fiction:
Many novels expand gū to be used by Crown Princess, adding dramatic flair and gender neutrality. In worlds where a princess is next in line for the throne, her use of gū instantly marks her authority and solemnity.
3. 儿臣 (Érchén) — Used by Princes and Princesses to the Emperor
Meaning: "Your child and subject"
Who Used It:Imperial children addressing their father, the Emperor.
Usage: Shows both familial respect ("child") and loyalty ("subject"). It emphasizes filial piety and hierarchy.
Example: "儿臣惶恐不安" – "Your son/daughter is deeply uneasy."
Historical Use:
When addressing the emperor, princes and princesses referred to themselves as 儿臣 (Érchén), meaning "your child and subject." This expression combined familial closeness with deep submission, reinforcing Confucian values of filial piety. It was exclusively used by imperial offspring speaking to their parents, the emperor or empress.
4. 本宫 (Běn Gōng) — The Voice of the Palace
Meaning: "This Palace" or "I, from this palace"
Core Identity: It's not about the building but the status of the speaker within the imperial harem or royal family. It asserts dignity, rank, and authority.
Who Could Use 本宫 (běngōng)?
Empress (皇后, huánghòu):
The rightful mistress of the imperial harem. She was the standard and most legitimate user of 本宫.
Empress Dowager (太后, tàihòu):
After the Emperor's death, the Empress Dowager (his mother or widow) retained supreme authority in the harem. She also used 本宫 or 哀家 (āijiā).
High-Ranking Consorts:
Consorts with titles like 贵妃 (guìfēi, Noble Consort) sometimes used 本宫 to reflect their elevated harem rank. Lower consorts (嫔, 妃子) usually wouldn't dare.
Princesses (公主, gōngzhǔ):
Because a princess was not only a daughter of the Emperor but also a figure of imperial dignity. Depending on her personality, her closeness to the Emperor, and her given status, she could adopt 本宫 to reflect her standing.
Especially eldest princesses (长公主, zhǎng gōngzhǔ) or married princesses (公主 married into powerful clans) might use 本宫 in a commanding way, treating themselves almost like extensions of the Empress's authority.
Why Princesses Sometimes Use 本宫
Cultural Etiquette: The word was tied to dignity and status, not strictly limited to the Empress. If a princess wanted to emphasize her imperial birth and superiority over other women, she could use it.
Literary Portrayal: In novels and dramas, authors often let princesses use 本宫 to highlight their arrogance, privilege, or imperial pride — especially if they're portrayed as domineering.
Hierarchy Context: If the princess was of high enough rank, commoners, officials, and even lower consorts were expected to bow to her anyway. Using 本宫 reinforced that power.
Usage: Indicates power and authority in the harem. Lower-ranked concubines would not dare to use this.
Example: "本宫自有安排" – "This Palace will handle this." (If the speaker Empress), and "本宫" can change into "This Princess" or "This Consort" depend on who is the speaker was.
Historical Use:
Běn Gōng (本宫), meaning "this palace," was the self-pronoun of the empress, high-ranking princesses, and sometimes Imperial Consorts of high rank. Its usage reflected their identity not just as individuals, but as embodiments of the palace itself. A single "Běn Gōng" carried authority equal to their station, signaling their dominance within the inner court.
In Fiction:
Novelists often expand its use to characters like ambitious concubines, female regents, or princess-generals, giving them gravitas and political weight. Depending on tone, běn gōng can sound elegant, cold, or commanding, making it a versatile storytelling tool.
5. 哀家 (Āi Jiā) — The Voice of the Empress Dowager
Literal Meaning: "The mournful one," "the sorrowful house."
Who Used It: Exclusively by the Empress Dowager (太后, tàihòu) after the Emperor's death.
Tone: Dignified, solemn, and heavy with grief. It reflects her widowed status while still affirming her supreme authority within the palace and sometimes even politics.
Example:
"哀家心甚慰." → "This Dowager is greatly comforted."
Historical Use:
Once an empress became a widowed empress dowager (太后, Tàihòu), she often referred to herself as 哀家 (Āi Jiā), literally "the sorrowful one." This humble and mournful term reflected her widowhood while retaining her unmatched status as the emperor's mother.
In Fiction:
Writers often portray āi jiā as a deceptively soft pronoun, masking cunning political minds. Empress dowagers in dramas frequently wield enormous influence, and their mournful tone only adds to their mystique.
6. 本王 / 本侯 / 本官 (Běn Wáng / Běn Hóu / Běn Guān) — Nobility and Officials
Historical Use:
Noble titles and officials also had their own self-references:
本王 (Běn Wáng): "This Prince" or "This King," used by princes or feudal kings.
本侯 (Běn Hóu): "This Marquis," for marquises and other high nobility.
本官 (Běn Guān): "This Official," used by ministers, magistrates, or military officers.
These pronouns emphasized rank while maintaining formality, reminding listeners of the speaker's authority.
In Fiction:
Authors often grant these terms to female nobles or commanders, allowing women to adopt historically male titles, creating powerful characters who defy tradition.
7. 寡人 (Guǎ Rén) — The Humble Ruler's Pronoun
Historical Use:
Before zhèn became the exclusive imperial self-reference, monarchs referred to themselves as 寡人 (Guǎ Rén), meaning "the impoverished one." This term, used heavily in the Warring States period, displayed humility rather than absolute power. It symbolized a ruler's moral burden and respect for Confucian ideals.
In Fiction:
Writers often reintroduce guǎ rén to kings in neighboring kingdoms or rival emperors, evoking a more ancient or refined tone.
8. 孤家寡人 (Gū Jiā Guǎ Rén) — The Lonely Sovereign
A poetic variation of gū and guǎ rén, this term means "the solitary and destitute one," emphasizing a ruler's isolation at the pinnacle of power. It appears frequently in dramas and poetry, often to depict a weary, introspective monarch.
9. 本君 (Běn Jūn) — The Voice of a Monarch or Ruler
Historical Use:
Běn Jūn (本君) literally means "this ruler" or "this lord." Historically, it was less formal than 朕 (Zhèn) but still highly authoritative, used by monarchs of smaller states, feudal lords, or rulers before the Qin unification of China. The word 君 (Jūn) itself means "lord" or "master," so its use emphasized noble authority rather than divine mandate.
After Qin Shi Huang declared himself the "First Emperor" (始皇帝, Shǐ Huángdì) and reserved zhèn for emperors, terms like běnjūn fell out of formal imperial speech but lingered in literature, poetry, and regional courts.
In Fiction:
In novels, běnjūn is a versatile pronoun that adds personality. Authors often use it for:
Powerful princes or princesses: Gives them a noble, commanding tone without the absolute authority of an emperor.
Regional rulers or clan leaders: Perfect for characters who are sovereign within their domain but not "Son of Heaven."
Villains or antiheroes: A proud warlord calling themselves "běnjūn" feels commanding yet slightly informal, making them stand out.
Gender-neutral rulers: Like "běngōng," běnjūn works perfectly for powerful female characters in leadership roles, emphasizing their sovereignty.
Because it isn't tied strictly to the emperor, běnjūn gives writers more flexibility to create a layered hierarchy of authority without breaking immersion.