A Short Story Of Lian Fang

Jing-Mei characterizes her mother as an ideal parental figure by showing how much hope she has in her daughter. Her mother’s only wishes are to give her daughter more opportunities than she had growing up in China. And by doing this she shows that no matter how many conflicts there is between a mother and daughter, a mother will never give up hope on her daughter. She will cherish her for who she is in the end.

Another conflict that arises from Confucianism is when Jing-mei was told to go back to China and tell her half-sisters about their mother. She said “‘what will I say? What can I tell them about my mother? I don’t know anything.’” (Tan 31). In Confucianism, very little of tradition is explicitly told from mothers to daughters in the form of text. Ritual actions are supposed to be observed, absorbed and understood in order to be preserved and handed down for posterity. But Jing-mei, who grew up in America, did not have a sense of following the tradition her mother brought to America, or rather considered the Chinese tradition to be eccentric.

Ying-Ying became passive and lifeless after her second son died. She kept the fact that she felt responsible for her second sons death a secret from her husband and daughter, Lena. As shown in this example, Ying-Ying had Chinese cultural values in an American society. This produces the conflict between cultures. Ying-Ying becomes so passive that she lets her husband make all of her decisions for her.

The story is around an American-conceived Chinese lady, Jing-mei, who goes to China to meet her twin stepsisters that her mom was compelled to relinquish numerous prior years. Since her mom had passed away just a couple of months prior, the meeting is full of vulnerability and bitterness. Jing-mei battles with self-character issues and what it truly intends to be Chinese. En route, she takes in reality about the reasons her mom deserted her sisters and the significance behind their names. At last, she at last associates with her sisters and makes the passionate association with her Chinese legacy.

Jook-Liang looks at the mirror and tries to think that she is Shirley Temple after Poh-Poh reprimands that she is useless and ugly. Conversely, she finds that she is not that beautiful as Shirley Temple and it makes her feel uncomfortable. Actually, Grandmother’s rebuke makes her realize her inadequacies. Because of point of view, the traditional Chinese thinking that a girl is useless deeply affects Jook-Liang’s thought about the people around her and herself.

In Six Records of a Floating Life, Shen Fu writes of his wife, “Yün came to this world a woman, but she had the feelings and abilities of a man.” (Fu: 89) Shen Fu and Yün considered each other to be intellectual equals. However, their relationship was still constrained within the gender roles set by their society. They lived during the Qing dynasty, which was a prosperous time for China (“The Manchus”: 266) but also a time when, as Professor Scarlett states in the lecture Daily Life in Imperial China, “the outside world was for men and the inside world was for women.” Shen Fu and Yün’s relationship was pushing the bounds of their culture, but they still kept (mostly) within the lines of social acceptability.

A: Some religious practices and customs that are mentioned are: ceremonies held for the seven goddesses who protected virginal maidens, which, in Mrs. Chen’s (back then, Lai Fong) case, was the last time she prayed with her mother; wearing a golden amulet that was “opened … to the light” by monks of the Shaolin Temple to ward off evil; and bowing in respect to the student who helped her. She also blamed her past life for her misfortune and gave to the beggar because she believed that the gods viewed compassion kindly. Her actions and perspective of things shows us the way she was brought

When An-Mei was a child, she was taught disciplined shou, a deep respect for her parents, elders, and ancestors. An-Mei’s grandmother, her primary maternal figure, would often tell her parables to cement this traditional Chinese belief early in her life, often concluding with moral-like statements such as, “Your own thoughts are so busy swimming inside that everything else gets pushed out” (43), and “If you are greedy, what is inside you is what makes you always hungry” (43). Not only do these statements reinforce the primary teaching of shou, to have respect for one’s elders, but also instills in An-Mei a fear of thinking and acting for herself. As a result, An-Mei is completely driven by her superego in her early life. In

Lindo’s upbringing was significant because her family was very traditional. As a result of her family abiding by tradition, Lindo was betrothed to Tyan-yu as a young girl. Lindo’s family treated her as if she was from a different family. When Lindo’s family lost everything in a flood, her father decided to move the family to Wushi. Lindo was old enough to move in with Tyan-yu’s family, so her family left her in Taiyuan with her future in-laws. When Lindo moved in with her new in-laws, Huang Taitai immediately put Lindo to work cooking, cleaning, and sewing. Lindo not only lost her family by moving in with the Huangs; she also lost her childhood innocence since she was forced to abandon playing with other children so she could be put to work. As a child, Lindo faced adversity due to her lack of American opportunities and therefore matured quickly.

This connection begins with the comprehension of her name and her sisters’ names. “Jing” means pure and “Mei” means little sister. Instantly Jing-mei feels more Chinese because she sees the connection she as to the language through her name. “Suyuan” means long cherished wish. With the understanding of her mother’s name, her feeling of connection to her Chinese heritage dramatically expands (Norton 190). She begins to piece the puzzle of her heritage together. By understanding the meaning of their names she begins to understand and accept her Chinese heritage. Her connection to her mother’s Chinese past is now much stronger than she had once realized.

Jing-Mei feels differently though, “Unlike my mother, I did not believe I could be anything I wanted to. I could only be me,” (359/80) and she was correct for she had no natural musical talent. Jing-Mei has a desire to please her mother, but an even stronger one to choose her own life. She pacifies her mother by going to piano lessons but puts in no effort. Jing-Mei is “…determined to put a stop to her blind foolishness,” (356/48) but her mother’s desire to create a prodigy to compete with Aunt Lindo’s daughter, keeps her focused on the impossible. That is, until Jing-Mei escalates this conflict to its breaking point in rebellion. Stunning her mother, she shouts “Then I wish I’d never been born! I wish I were dead! Like them,” (359/77) referring to the twin daughters her mother lost in China. Sadly, the mother’s desire to have Jing-Mei conform to her expectations creates a constant battle between mother and daughter, and, in rejecting those expectations, seeing disappointment in her mother’s face all too often causes Jing-Mei to feel, “something inside me began to die” (353/18).

Jing-mei realized that she was an ordinary individual and that she would not let her mother’s expectations change that. She no longer believed that she “could be anything [she] wanted to be, [rather she] could only be [herself]” (Tan 44). In using a limited, first-person point of view, Tan is able to show Jing-mei’s emotional progress of following her mother’s dreams to finally realizing her own dream.

Have you ever heard the fascinating Chinese story “The Story of Miss Li”? This short story is about two main characters. One being Miss Li, a beautiful young Prostitute, and a young man of great wealth and power. Soon in the story Miss Li finds the young man and convinces him to marry her. Unfortunately, two years later they spend all of their money and end up having nothing to their name. So, Miss Li, tricked the young man and left him with nothing to his name. years pass and the young man was very sick and almost dead, he runs into Miss Li one more time. Miss Li felt so terrible that she did this to him that she took him in and cared for him. Soon, she became an ideal Confucian woman and led him back to great wealth in power by helping him learn “the five texts” and making sure he was ready to take the Civil Serves Examination. Even though Miss Li was not what most Chinese call a proper woman, later became an ideal Confucian woman and wife by following the Admonitions for Women and the Analects for Women.

Jing-mei’s inability to connect with her mother arises from her upbringing. Mrs. Woo pushed Jing-mei to extremes with her parenting and failed to realize the lasting trauma it had on her daughter. Jing-mei as a fragile child wants nothing more than for her “mother and father [to] adore [her]” (233). The developing girl is looking for acceptance through her parents, but Mrs. Woo does not understand the positive reinforcement required in those early stages of development. Instead

Wild Swans: Three Daughters of China by Jung Chang provides a thoughtful and beautifully painful chronology of three generations of women through some of China’s harshest periods in history. This book review will proceed in two parts. The first will address the significant themes present in Chang’s novel. The second will go beyond literary analysis and delve into identifying the author’s own bias, and comment on the structure and perspective of Chang herself. This review will overview the themes and then critically comment on the efficacy of the author’s development of those themes. Chang shows how adversity can bring out the best in people; and how love, loyalty, and self-sacrifice are imbued in their family.