Female Gender and Identity Built in the Works of Classical Chinese Literature - Term Paper Example

due: Female gender and identity built in the works ical Chinese literature The works ical Chinese literature embraces Confucian concepts. The doctrine of Confucianism implemented foot biding, child-servant, widow chastity, concubinage and female infanticide (Rosenlee 15). Most of Chinese classics conceal the personalities of females, and she lives under the bondage of four virtues and three obedience. The three bondages to obedience include obedience to fathers when young, to husbands when married and become adult sons when they are widowed. On the other hand the four virtues involve speaking properly, performing her domestic tasks, and behaving in accordance to the rules and knowing her place. A female was raised in a family aware of the fact that she will get married and live in another household. She was brought up to become a stranger’s wife and a daughter-in-law. In a Chinese female’s life, marriage was the most significant occurrence. Marriage was regarded as the transfiguration from a girl to womanhood (Ember & Melvin 365). In his book The Shorter Columbia Anthology of Traditional Chinese Literature, Mair (2000) brings out the Confucian idea of a woman as a person who is cautious and intelligent. From the script about autumn floods, a woman is seen as an individual who understands fundamentals. She is someone who knows the happenings; therefore, she is not hurt by events. It implies that the value of a woman is in the level of integrity she holds. She is a force that is relied on to safeguard against extreme dangers. The text states ‘she who has ultimate integrity will neither be burned by fire nor drowned in water’. In addition, a woman is a person who has the potential to assess risks and determine whether she is in danger or safe. She is somebody who holds her peace in times of prosperity and misfortunes. The text concludes ‘integrity lies in heaven. From this perspective, the Confucian doctrine is seen to place a woman in the position of having a divine relationship that enables her to have integrity. This implies that women with integrity were respected in the society for their potential to maintain harmony and enforce rules of families. From the perspective of divine connection, a woman was expected to purify, arrange and cleanse in preparation for the food and wine offerings to the ancestors (Mair chapter 17). However, a woman was seen as weak sex compared to a male in Chinese society. The three rituals performed on a girl child on the third day after birth was aimed at defining her role in the society. The first ritual involved the baby girl being placed under the bed that signified her lowly and weak status. The second ritual was to provide her a potsherd to play with that was a symbol that she was expected to exercise labor and consider being hardworking as an obligation. The final ritual of declaring her name to the ancestors indicated that she will value her fundamental responsibility of continuing worship observance at home (Tiwald & Van 57). A Poem Ode of Mulan describes the endeavors of a girl to join the warriors. The girl warrior was in a dilemma since the father lacked a grown-up son, and he was aged. She was determined to prove that she had the same capabilities as a male child and go against the expectations of the traditions. From the poem, the woman is identified with household chores and staying at home. This is evident in the text ‘Mu-lan weaves, facing the door’ (Pollock &Dippel 76). The females were expected to grow up and get married to start their families. It is clear in the poem where the parents enquire from their daughter the person in her mind and heart. The society made it difficult for females to excel in other disciplines because the Khan posters advertising the position of troops did not include female names. Mu-lan defied the odds and bought a horse, bridle, and saddle and headed for war. No one in the camp recognized Mu-lan as a female because she wore a war gown. She became a warrior because she was among the troops that returned from the war after ten years with victory (Pollock &Dippel 77). From another point of view, Mu-lan’s move can be interpreted as a way of fighting to acquire identity in Chinese classics. She can be categorized under the class of women who were of heterodox belief. The heterodox tradition worked to nullify the perception that women were inferior and gave a different stand. For instance, in Tang dynasty there were various women who were followers of the denomination of the ‘Queen Mother of the West’. The Queen Mother from the West was a significant goddess of Taoism, a distinct sponsor of women, like prostitutes who are not recognized in the family sphere (Giskin 95). A woman’s identity developed by marriage where she is expected to submit to the husband. The marital relationship is formed by partnership, separate responsibilities and affection (Giskin 94). As written by Susan Mann, Liji focused on submission, hierarchy or dominance. For instance, a suitable marriage was organized and officiated to emphasize on the gender inequality and highlight the distinct roles of woman and man in the conjugal alliance. The marriage defined who a woman was in the society because it was a fundamental human social bond illustrating ‘propriety’ or ‘righteousness’. Widow chastity also gave recognition to women in Chinese classics. This is seen in the efforts during the Song Dynasty to revive the non-remarriage of widows which was a symbol of a woman’s virtue. The value of widow chastity is demonstrated by the fact that the ‘biographies of virtuous women’ formed part of the official records in the era of Qing and Ming dynasties. These women ended their lives in a tragic manner where they had to commit suicide or were murdered in their quest to maintain chastity. The scenarios were different for various cultures. For example, a woman who became a widow at the age of thirty and preserved her chaste to the age of fifty would be given a memorial arch. In addition, her family benefited from specific tax exemptions. The purpose of virtue of chastity was to ensure that the women were in an inferior social rank and under the dominance of their families (Giskin94). The females were recognized for their beauty and family status. The Odes of Wei identify a female in regard to her height and size. The poem describes her garments that signified her elegance. She is given the title of a wife, daughter, sister, viscount of Tan and sister-in-law. Her beauty is expressed in similes where her fingers are similar to the blades of young white grass. Her skin is like lotion and her neck like the tree grub. The poem continuous to outline her teeth, dimples, lovely eyes and a lovely forehead which proves that women beauty was adored in Chinese classics. In other Chinese classics, women are cosmic in their significance. In Ode 245 written by Wang, Jiang Yuan gave birth to Shengmin people (Wang 22). The women were recognized because of giving birth to sons. A childless woman did not have a place in the society. In Ode 245 Jiang Yuan offers a pure sacrifice and offering so that her childlessness could be taken away. She is recognized for having given birth to a son Hou Ji, whom she nourishes. This proves that her identity not only came because of giving birth but also as a result of fostering the son. Therefore, the females in Chinese classics were recognized for their potential to nurse their sons (Wang 23). In addition, the Odes15 is praises women for their diligence in satisfying their family responsibilities. The woman’s responsibilities include gathering food from the fields, valleys and pools formed by floods. After that, it is the role of the female to cook food and feed her family. She is referred to as a reverent young lady for having successfully executed her role (Wang 8). Furthermore, the females were associated with the role of female gods in Chinese classics. In the classics of the mountains Shajing, Jing Wei the daughter of Yandi is portrayed in the form of a beautiful bird that looks similar to a crow. She exists as a spirit guard and is believed to have drowned in the Eastern Sea, and her body was never recovered and reincarnated into Jing Wei. Her role is to transport pebbles and wood in her beak from the West Mountain to fill the Eastern Sea (Wang 93). In addition, the classic of seas Haijing, two women ‘woman sacrifice’ and ‘woman warrior’ occupy a battle field between two rivers. The sacrifice possesses the meat utensil while the warrior holds an eel (Wang 94). In addition, the Chinese classics also develop female identity from the perspective of authority. For example, the Chinese classics from Liezi talks about Nü Gua in Chinese history who was a goddess and a ruler. Her name is related to Shen Nong and Fu Xi whom were responsible for a better life of prehistoric people. Nü Gua was referred to as a prehistoric empress surnamed Feng that developed musical instrument from reeds. She is also associated to a marriage that does not involve a woman and a man that shares identical last names. She is described to take the form of a snake body and a human face. Her great deeds include saving the world from floods and earthquakes (Wang 96). In Chinese classics, a female was not valued. It was evident in the practice of infanticide among the females more than males. This tradition existed during Qin reign and continued over the centuries and was practiced widely during the Ming reign. In Ming dynasty, female infanticide was used as a way of managing fertility and preventing distribution of family wealth through dowries. A lot of Han Chinese women were subjected to pain through foot binding practice. The practice was intense in the time of Song dynasty. It was a way of making sure that the males acquired physical superiority over the females (Hansen & Kenneth 446). All in all, the pain and disappointment of women in Chinese classics is expressed in Ode 58. The poem talks of a woman who gets married to young man and for three years no fruit of joy can be seen in her marriage. Her life remains the same as when she left her matrimonial home. She has survived the three years of marriage enduring her husband’s poverty. The poem clearly shows the difference in the lives of males and females because it states that the man has increased twice in his ways. The work of the wife in her home is not recognized by her husband. The poem illustrates the life of the woman in her home as one that got up early and retired to bed late. She never had time to rest from her hard work in an effort to fulfill her marriage vows. The woman complains of her husband’s behavior that was cruel. She comments that after the brothers find out the truth nothing will be done only that they will mock her. Therefore, she re-considers the thought of asking help from her brothers and resort to suffer silently as well as feeling pity for herself. The poem ends with a declaration from the woman of her disappointment in her husband for the broken engagement. This is evident that in Chinese classics the woman’s position in marriage as one of stopping low and not expect anything from her husband and family. She is a slave who is supposed to please the husband and fulfill her familial obligations (Wang 18). Works cited Ember, Carol R, and Melvin Ember. Encyclopedia of Sex and Gender: : Men and Women in the Worlds Cultures. New York: Springer, 2003. Print. Giskin, Howard. An Introduction to Chinese Culture Through the Family. Albany, NY: State Univ. of New York Press, 2001. Print. Hansen, Valerie, and Kenneth R. Curtis. Voyages in World History, Volume II, Brief. Cengage Learning, 2012. Mair, Victor H. The Shorter Columbia Anthology of Traditional Chinese Literature. New York: Columbia University Press, 2000. Internet resource. Pollock, F, and L Dippel. Senior English Outcomes: Stage 6. Pascal Press: Pascal, 2003. Print. Rosenlee, Li-Hsiang L. Confucianism and Women: A Philosophical Interpretation. Albany: State University of New York Press, 2006.Internet resource. Tiwald, Justin, and Norden B. W. Van. Readings in Later Chinese Philosophy. , 2014. Internet resource. Wang, Robin. Images of Women in Chinese Thought and Culture: Writings from the Pre-Qin Period Through the Song Dynasty. Indianapolis: Hackett Pub. Co, 2003. Print. Read More