Balzac And The Little Chinese Seamstress Analysis

Luo decides to undertake the project of educating the Little Seamstress by reading books by western authors to her in hopes that she will learn from the characters in the stories and try to adopt their civilized ways. The Little seamstress forms a connection with the books almost instantaneously from her first exposure to Western Literature. According to Luo, “after I had read the passage from Balzac to her word for word...she took your coat and reread the whole thing, in silence. When she’d finished reading, she sat there quite still, open-mouthed. Your coat was resting on the flat of her hands, the way a sacred object lies in the palms of the pious” (Sijie 62). The is astounded by the wise words of Balzac and it is and eye opening experience for her. Through Sieves diction in this passage, the word “pious” also indicated that reading books is also a sacred or spiritual experience for the Little Seamstress. This moment is one of the most significant in the whole text, because it makes the beginning of the Seamstress's Transformation, by showing the great effect that literature has on her. From the Little Seamstress’

Throughout his novel Balzac and the Little Chinese Seamstress, Dai Sijie illustrates the powerful influence that books have on their readers. Through his narrative, he establishes his stance on the controversial issue of whether or not storytelling is good. He combines countless events and feelings to create a novel that demonstrates the good of storytelling and the iniquity of book banning and burning. In the end, Sijie portrays storytelling as a means of good entertainment, enlightening experience and positive encouragement.

Red, like any other color in this novel, is symbolic, perhaps more so than others. Love and tragedy, though seemingly opposite, are both symbolized by red. On page 12, Zusak says through Death, “The last time I saw her was red.” (Zusak 12) Death is saying this about seeing Liesel Meminger.

Helena represents the scorned woman referencing the color red similar to when Buttercup wears a red dress when she runs off and gets captured by transients. Red represents the (typically female) character’s burdening the other characters with her mere existence. Also, Hermia and Lysander plan to run into the forest to escape the law, similar to Westley and Buttercup’s descent into the Fire Swamp to escape Prince Humperdinck’s

In communist, Mao-ruled China, children were ripped from their families to be “reeducated” to have individual intellect snuffed out and made to better fit the mold of the ideal communist. Dai Sijie’s Balzac and the Little Seamstress tells the story of two boys subjected to this practice. A boy named Luo and an unnamed narrator who are put through the difficulties of being forced into another way of life. . In pages 142-144 the headman of the village the protagonists are staying in comes to arrest the narrator for telling forbidden western tales. To avoid this arrest the protagonists decided to help the headman with a tooth decay. While the narrator controls the speed of the makeshift drill, he starts to slow down the rotation speed to

Lou lost the Little Seamstress to individualism and her wanting to have free will. Balzac and the Little Chinese Seamstress suggests that we as people evolve in our lives. We learn thing about ourselves and change our perspectives based off of our experiences. One of the major themes in this novel is that you cannot dominate people completely and try to force people to do things then you are in the place of power. The human imagination cannot be restricted and put into a box called communism. The Little Seamstress realized that Luo was trying to control her like the government authorities of China was trying to do to their people towards the end of the book when she says told Luo that “she had learnt one thing from Balzac: that a woman’s beauty is a treasure beyond price” (184). People are going to want to live as individuals freely and find a way to escape the rules. The topic of not being able to fully dominate and control people is a topic that is still relevant to today’s

The second example of red is found in the quote, “For a long time, it seemed forever, I lay there crying, sheltering my fallen scarlet ibis from the heresy of rain.” Hurst contrasts Doodle to the scarlet ibis. Covered in brilliant red blood, Doodle had bled to death. The narrator transforms Doodle into the scarlet ibis in an effort to hide from the horrific truth that Doodle is dead. The image of Doodle is so gruesome, so Hurst tries to lighten the scene by making it sound more beautiful, by using words such as brilliant red. The narrator does not realize how alike Doodle and the scarlet ibis are until he holds Doodle in his arms, and he can feel his slender frame and sees the bright red blood on his body, which looks like the scarlet ibis’s

"Riding The Red"at first glance is a simple narrative with a grandmother telling a story about a wolf, but with further analyzation the two themes of first love and innocent become very clear. The author’s repetition of certain words like blood and dance directs your attention to a deeper meaning hinting and connections to the "Little Red Riding Hood" which reflects back to the underlining message of what happens when a girl grows up.

“When I finished the book Luo had not yet returned, there was no doubt that he had gone to visit the Little Seamstress so he could tell her this wonderful tale of Balzac’s. In my mind’s eye I could see Luo telling her the story and the Little Seamstress listening vigorously open - mouthed. As I was thinking about her I felt a sudden stab of jealousy, a bitter emotion I had never felt before and my desire to be with the Little Seamstress grew stronger. Later that day, Luo came back with leaves of a gingko tree. “We made love there, against the trunk”; those words made me feel somewhat sick in the heart, I didn’t even know that was possible. I strained to imagine it but words failed me... Why does Luo always get everything? He even said himself

To begin with, this story launched with the exposition, where we learned about the two main characters, their lives, and the setting. M. Lantin, a chief clerk in the office of the Minister of the Interior, “became enveloped in love as in a net” (Maupassant 67) after meeting a young woman, Madam Lantin. She was beautiful and every man dreamed of having her. Then, the two married shortly later, and they lived joyously for six years. The only two things that M. Lantin did not absolutely adore about his wife was “her love for theater and her passion for false jewelry” (Maupassant 67). Additionally, the exposition explained how the wife was in charge of the money in the house and how “they really seemed to live in luxury” (Maupassant

Storytelling can be found in every corner of the world. It is used to pass the time, tell of past or current events, and is the way that we communicate with each other. In Balzac and the little Chinese Seamstress, by Dai Sijie, storytelling occurs during times of hopelessness when life seems hard and allows the characters to live vicariously through the tales told. The narrator and Luo use storytelling as an escape from reality in times of desperation. The tailor is influenced by the stories to the point where he changes the style of clothing he creates to escape the boundaries of Mao approved clothing. The importance of storytelling to the little seamstress is that she learns the importance of beauty, and is able to leave the current life

In the short story, “A Red Dress 1946” by Alice Munro, Color imagery is used for signifying a girls point of view of her world and her own self by using the color red which represents nonconformity. The narrator has only a slight interest in being red, but she really wants to be blue, just like everyone else. Munro writes, “When I was asked a question in class, any simple little question at all…that I had blood on my skirt”.(2) The narrator is just so nervous about being red she is thinking of bad things that can happen with the color red. She is thinking of all the bad times the color red could do a girl badly, just like a girls period could leak at any moment. In “A Red Dress 1946”, a short story by Alice Munro, she uses Color Imagery to show the significance of the narrator’s view of the color red and all the “Evil” about it.

Through the Seamstress’ time with Luo at the lake, she expresses her individuality therefore building on her character. Repetition of “you’re” such as “I know what you’re getting at…” shows the Seamstress’ ability to be brave and stand up for herself. She is aware that others make judgements of her vulnerability due to her strong loyalty to Luo, however she addresses the reader through these pronouns to uphold herself, exhibiting vitality. Her confrontation with the reader shows confidence and strength, characteristics she didn’t have when being cooped up inside her house. Through the selection of detail, the Seamstress claims she isn’t like the “French girls Balzac talks about” and describes herself as a “mountain girl”. Here, the Seamstress is acknowledging that she is different and unique. She separates herself from other girls with the descriptive word “mountain”, applying that she is more adventurous, bold, and courageous than the “French” girls.

Carter remains consistent with the original story of Red Riding Hood, and elaborates on the girl's nature at the time the story takes place. Red's cheeks are scarlet, indicative of her becoming a woman; in contrast, "she is an unbroken egg; she is a sealed vessel...she does not know how to shiver" (2234). A reader may think this emphasis of her sexual inexperience reveals her naivety. However, Carter's exaggeration of Red's purity may be her way of questioning readers' assumption that since Red is an innocent woman, she will be victimized. The combination of Red's sexual maturity, contrasted with hyperbolic description of her innocence, and the climax of the story contribute to this possibility.

The Narrator is not free of such infractions, either. On page 162, when he is reading to the Seamstress in Luo’s stead, the Narrator says he is “merely a substitute reader” to her, but goes on to claim that “She even seemed to appreciate my way of reading... more than my predecessor’s”. He is reading too deeply into her opinion of him, and feels a sense of entitlement to her affections; he tricks himself into thinking she is more into him than she is her actual boyfriend. Later on, once he learns that the Seamstress is pregnant and seeking an abortion, he “summoned every means of persuasion to stop her from running to the sorceresses for a herbal remedy” (page 172). Describing her as “running” off on her own shows his own lack of trust in the Seamstress’s judgement, and reveals that he thinks she is irrational. On top of this, nearing the novel’s end at page 196, the Narrator is indignant that the Seamstress “had not thought to tell [him]” about her plans to run away to the city. His entitlement to her affections shines through once again, in that she didn’t even want to tell her actual boyfriend about her