When watching historical dramas, viewers often encounter a character being addressed by different names—sometimes their given name, sometimes another title. This is exactly the case in 'Zhu Yu', starring Zhang Linghe. His character is named Xie Zheng, yet he is also called 'Jiu Heng' throughout the series. At one point, he even lives under the assumed identity of 'Yan Zheng'. In reality, these names represent entirely different concepts: 'Xie' is the surname, 'Zheng' is the given name, 'Jiu Heng' is his style name (also known as 'zi'), and 'Yan Zheng' is an alias used while concealing his true identity.

Official content from iQIYI explicitly states, 'My name is Xie Zheng, style name Jiu Heng, born into military service, enfeoffed as Marquis of Wu’an.' So why did ancient people take a 'zi' when they already had a given name? What distinguishes a 'ming' (name), 'zi' (style name), and 'hao' (literary name or sobriquet)?

In 'Zhu Yu', when Xie Zheng introduces himself as 'My name is Xie Zheng, style name Jiu Heng, born into military service, enfeoffed as Marquis of Wu’an,' he is using a traditional format that simultaneously reveals his full name, courtesy name, background, and noble title. The term 'Jiu Heng' is not an alternate birth name, but rather part of China’s traditional naming culture—specifically, his 'biao zi' or 'courtesy name'. According to Taiwan’s Ministry of Education's 'Revised Edition of the Comprehensive Dictionary of Modern Chinese', a 'courtesy name' is an additional name taken alongside one’s given name, often semantically related to it.

Thus, whether other characters refer to him as 'Xie Zheng' or 'Jiu Heng', they are referring to the same person—the difference lies only in the formality and context of address. This practice allows for nuanced social interaction based on hierarchy and occasion.

The tradition of taking a 'zi' is deeply tied to ancient rites of passage. As recorded in the 'Book of Rites – Qu Li I': 'A man receives his style name upon the capping ceremony at age twenty.' This rite marked the transition into adulthood. Similarly, the text notes, 'When a woman is betrothed, she undergoes the hairpin ceremony and takes a style name,' indicating that women also followed this custom, though its application varied across classes and eras.

The 'Book of Rites' further states, 'After the capping ceremony, one is given a style name to show respect for the given name,' suggesting that the 'zi' serves as a mark of dignity and maturity. However, acquiring a 'zi' does not render the original 'ming' obsolete. The same text clarifies, 'Before one’s father, one is called by the given name; before one’s ruler, one is called by the given name,' indicating that the 'ming' remained in use in specific hierarchical relationships.

While the 'Book of Rites' outlines formal etiquette, actual naming practices differed across dynasties and social strata. Therefore, the use of 'ming' and 'zi' was not uniform throughout history.

To understand the difference between 'ming' and 'zi', consider Xie Zheng from 'Zhu Yu': 'Xie' is the surname, 'Zheng' is the given name, and 'Jiu Heng' is the style name. The dictionary definition emphasizes that the 'zi' is 'related to the given name', often echoing its meaning. Historical figures provide well-known examples: Zhuge Liang’s given name was 'Liang' (bright), and his style name 'Kongming' (very bright); Su Shi’s given name was 'Shi' (a type of chariot rail), and his style name 'Zizhan' (to look afar).

Therefore, when encountering a character suddenly addressed by a different name in classical texts or period dramas, it may not indicate a name change, but rather a shift from using the 'ming' to the 'zi'. In modern terms, a 'zi' functions like a formal alternative name—but unlike Western nicknames or English names, it carries cultural weight rooted in coming-of-age rituals, naming traditions, and social etiquette.

Beyond 'ming' and 'zi', historical figures often adopted a 'hao' (literary name or sobriquet). The 'Comprehensive Dictionary' defines 'bie hao' as 'another name taken apart from one’s original name', citing Li Bai of the Tang Dynasty, who styled himself 'Qinglian Jushi' (Hermit of the Green Lotus).

The key difference between 'zi' and 'hao' lies in their origin: 'zi' is formally conferred during a rite of passage, as documented in Confucian classics like the 'Book of Rites'; 'hao', however, is typically self-chosen, often reflecting personal ideals, residence, or artistic inclinations. For example, Su Shi also went by 'Dongpo Jushi' (Hermit of the Eastern Slope).

Thus, a single historical figure might be known by multiple names: surname, given name, style name, and literary name—or even official titles and noble ranks.

Returning to 'Zhu Yu', we can now clearly distinguish Xie Zheng’s various appellations: 'Xie' = surname, 'Zheng' = given name, 'Jiu Heng' = style name, 'Yan Zheng' = alias, 'Marquis of Wu’an' = noble title. Official iQIYI materials confirm that Fan Changyu proposes marriage to 'Xie Zheng, alias Yan Zheng'. Later, in Episode 27, the revelation 'Yan Zheng is none other than the Marquis of Wu’an' confirms his true identity.

'Wu’an Hou' (Marquis of Wu’an) is not another name, but a hereditary peerage title. Early in the series, Fan Changyu is unaware that the man before her, 'Yan Zheng', is actually the Marquis. In Episode 3, she even worships a memorial tablet inscribed with 'Xie Zheng' while standing directly in front of him—an ironic moment highlighting dramatic irony through identity concealment.

Thus, the seemingly complex array of names in 'Zhu Yu' can be broken down as follows: Xie = surname, Zheng = given name, Jiu Heng = style name, Yan Zheng = alias, Marquis of Wu’an = title. The line 'My name is Xie Zheng, style name Jiu Heng, born into military service, enfeoffed as Marquis of Wu’an' succinctly conveys his full identity in a single sentence. Multiple names for one character in historical dramas often reflect traditional naming systems and shifts in social status. Understanding the distinction between 'ming' and 'zi' reveals deeper layers of ritual, maturity, and interpersonal respect in ancient Chinese society.