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Mrs. spring fragrance analysis
Mrs spring fragrance analysis
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Americanization on the Chinese in Mrs. Spring Fragrance by Sui Sin Far
Sui Sin Far portrays the effects of "Americanization" on the Chinese who arrived in America during the early 1900's, in her story of "Mrs. Spring Fragrance". She describes the processes that the Chinese characters in the story undergo as they slowly begin to accept the American culture as their own. She shows how they become "Americanized", yet shows how they are still rooted in the Chinese tradition. The piece is presented in a lighthearted tone yet deals with issues of national and cultural identity.
In the beginning of the story, the author describes the Chin Yuen's as American in appearance yet Chinese in customs. Throughout the story she continues to describe the deterioration of the Chinese customs by American ideal. This is pinpointed when Mr. Chin Yuen decides to let his daughter marry the boy that she loves. The conversation that Mr. Spring Fragrance has with Young Carman explains that only in American culture is it customary to find love before marriage; in the Chinese tradition, all marriages are arranged. This clearly exemplifies the manner in which the Chinese characters are more and more disregarding their Chinese culture and taking on this new American standard of living. Ironically, Sui Sin Far conveys the notion that the American tradition is not necessarily better than the Chinese tradition. More so she demonstrates the struggle of identity between two worlds that both make sense. Though Laura and Kai Tzu have found their happiness in the American tradition of marriage, the reader discovers that Mr. and Mrs. Spring Fragrance are equally as happy even through the Chinese tradition of marriage.
Sui Sin Far is however, attempting to communicate how the Americans are brainwashing the Chinese into thinking that the American tradition is much more sensible than the Chinese tradition. This is demonstrated through Mr. Spring Fragrance's conversation with Young Carman and also the lecture that Mrs. Spring Fragrance attended in San Francisco. Young Carman voices the general ideal of America being a 'high class' country where everyone is treated equally important. He disregards Mr. Spring Fragrance's inquiries about his brother in the detention pen and instead turns the tables on him, blaming the Chinese for compelling Americans to do what is against their principles. Ironically, Mr. Spring Fragrance offers apologies on behalf of the Chinese unaware that Young Carman's argument does not make any logical sense.
In her book, The House of Lim, author Margery Wolf observes the Lims, a large Chinese family living in a small village in Taiwan in the early 1960s (Wolf iv). She utilizes her book to portray the Lim family through multiple generations. She provides audiences with a firsthand account of the family life and structure within this specific region and offers information on various customs that the Lims and other families participate in. She particularly mentions and explains the marriage customs that are the norm within the society. Through Wolf’s ethnography it can be argued that parents should not dec5pide whom their children marry. This argument is obvious through the decline in marriage to simpua, or little girls taken in and raised as future daughter-in-laws, and the influence parents have over their children (Freedman xi).
Although Mrs. Spring Fragrance has only lived in America for a short amount of time, her husband states “There are no more American words for her learning” (865). It is obvious through reading this statement that Mrs. Spring Fragrance has become quickly acquainted with not only the English language, but also with American customs and traditions. However, not every character in Mrs. Spring Fragrance adjusts to American culture as easily as Mrs. Spring Fragrance; some characters have a difficult time leaving their Chinese traditions of marriage and accepting that in America, love comes before marriage. Throughout Mrs. Spring Fragrance, Sui Sin Far describes the process that the Chinese characters experience as they slowly begin to alienate traditional Chinese culture and becoming Americanized through accepting American culture as their own.
In “Princess of Nebraska” the author exemplifies the disenchantment of America when she writes, “If only her baby were a visa that would admit her into this prosperity, Sasha thought, saddened by the memories of Inner Mongolia and Nebraska, the night skies of both places black with lonely stars”(79). Although America is unique in certain rights and freedoms, these freedoms just as anything else have limitations. Sasha feels unchanged by her new environment, still feeling unable to grow her sense of self or escape the problems she attempted to abandon in her old world. The prosperity of America does not keep Sasha from the loneliness and troubles that consume her life, thus making the “night skies” of America and China comparable. In “A Thousand Years of Good Prayers”, Mr. Shi has similar struggles coping with the anticlimactic realities of true America and his inability to provoke change within his relationship with his daughter. The narrator highlights the lack of communication and distance that still exists between them when stating, “He feels disappointed in his daughter, someone he shares a language with but with whom he can no longer share a dear moment”(194). Although Mr.Shi feels America should serve him the liberties to be a better
In analyzing these two stories, it is first notable to mention how differing their experiences truly are. Sammy is a late adolescent store clerk who, in his first job, is discontent with the normal workings of society and the bureaucratic nature of the store at which he works. He feels oppressed by the very fabric and nature of aging, out-of date rules, and, at the end of this story, climaxes with exposing his true feelings and quits his jobs in a display of nonconformity and rebellion. Jing-Mei, on the other hand, is a younger Asian American whose life and every waking moment is guided by the pressures of her mother, whose idealistic word-view aids in trying to mold her into something decent by both the double standards Asian society and their newly acquired American culture. In contrasting these two perspectives, we see that while ...
Growing up in California, Tan continued to embrace the typical values of Americans. She had taken on American values as her own identity, completely ignoring most of her Chinese heritage. In fact, young Amy Tan would answer her mother’s Chinese questions in English (Miller 1162). Teenage Amy Tan lost both her father and sixteen-year-old brother to brain tumors. Soon after that, she learned that she had two half-sisters in China from her mother’s first marriage (“Amy Tan Biography”). In 1987, Tan made a trip to China to meet those very same ...
One type of effect the Chinese mothers’ expectations has in their relationship with their “Americanized” daughter is negative since the mothers are unable to achieve anything. An-Mei Hsu expects her daughter to listen and obey as the young ones do in Chinese culture, but instead receives a rebellious and stubborn daughter, “‘You only have to listen to me.’ And I cried, ‘But Old Mr. Chou listens to you too.’ More than thirty years later, my mother was still trying to make me listen’” (186-187). Instead of the circumstances improving, the mother is never able to achieve anything; her forcing and pushing her daughter to the Chinese culture goes to a waste. They are both similar in this sense because both are stubborn; the daughter learns to be stubborn through American culture and wants to keep herself the way she is, whereas the mother wants to remove this teaching from American culture and does not give u...
...in her essay “No Name Woman”. The Chinese tradition of story telling is kept by Kingston in her books. Becoming Americanized allowed these women the freedom to show their rebellious side and make their own choices. Rebelling against the ideals of their culture but at the same time preserving some of the heritage they grew up with. Both woman overcame many obstacles and broke free of old cultural ways which allowed them an identity in a new culture. But most importantly they were able to find identity while preserving cultural heritage.
The second and third sections are about the daughters' lives, and the vignettes in each section trace their personality growth and development. Through the eyes of the daughters, we can also see the continuation of the mothers' stories, how they learned to cope in America. In these sections, Amy Tan explores the difficulties in growing up as a Chinese-American and the problems assimilating into modern society. The Chinese-American daughters try their best to become "Americanized," at the same time casting off their heritage while their mothers watch on, dismayed. Social pressures to become like everyone else, and not to be different are what motivate the daughters to resent their nationality. This was a greater problem for Chinese-American daughters that grew up in the 50's, when it was not well accepted to be of an "ethnic" background.
The film explains the difference between Chinese and American values of gender in marriage and family as well. It clearly shows how Chinese woman is expected to good wives for their chosen husband. Girls are promised at an early age to a man. In the film Aunty Lindo had an arranged marriage when she was only four years old. In an American marriage, it is supposed to be based on a love and connection between two people.
One striking similarity in the writings is that all characters lose their heritage over time. In “The Struggle to Be an All-American Girl”, Elizabeth was forced to attend Chinese school by her mother to retain her Chinese heritage and to speak proficient Chinese. However, she hated the Chinese School and strongly preferred speaking English over Chinese. She...
Lindo Jong provides the reader with a summary of her difficulty in passing along the Chinese culture to her daughter: “I wanted my children to have the best combination: American circumstances and Chinese character. How could I know these two things do not mix? I taught her how American circumstances work. If you are born poor here, it's no lasting shame . . . You do not have to sit like a Buddha under a tree letting pigeons drop their dirty business on your head . . . In America, nobody says you have to keep the circumstances somebody else gives you. . . . but I couldn't teach her about Chinese character . . . How to know your own worth and polish it, never flashing it around like a cheap ring. Why Chinese thinking is best”(Tan 289).
When she arrives, she feels somehow proud to be Chinese. But her main reason why she went back home is to reflect her mother past life on her present life. Through the setting and her relatives, Jing Mei learns the nature of Chinese American culture. The main setting takes place in China, effects of the main character’s point of view through changing her sense of culture and identity. The time period plays a large role on the story, there is disconnect between the mother and daughter who came from different culture. In “A Pair of Tickets”, we learn it’s a first person narrator, we also learn detail of what the narrator is thinking about, detail of her past and how life compared to China and the US are very different. The theme is associated with the motherland and also has to deal with her mother’s death and half sisters. Her imagination of her sister transforming into adult, she also expected them to dresses and talk different. She also saw herself transforming, the DNA of Chinese running through her blood. In her own mind, from a distance she thinks Shanghai, the city of China looks like a major American city. Amy Tan used positive imagery of consumerism to drive home her themes of culture and identity, discovering her ancestral
Dutta, the Chinese narrator of “Who’s Irish?” is self-assured and not willing to contain her opinions of the American culture in order to satisfy her family. When her daughter complains that the narrator does not support her, she verbally dismisses the American culture: “We do not have this word in Chinese, supportive” (Jen 325). Also in contrast to Mrs. Dutta, the Chinese narrator does not even pretend to adapt to American habits. When her daughter wonders what to do about Sophie’s wild behavior, the narrator turns to the Chinese culture and suggests spanking. She feels confident that the Chinese method of discipline is effective, but her daughter makes it clear that the American culture disapproves of physical punishment. At first, the Chinese narrator respects her daughter’s wishes and refrains from violence. However, when the methods the Chinese narrator uses to stop Sophie from misbehaving fail, she spanks Sophie. Her daughter is appalled when she catches the narrator trying to drive Sophie out of a hole at a playground with a
Kingston uses the story of her aunt to show the gender roles in China. Women had to take and respect gender roles that they were given. Women roles they had to follow were getting married, obey men, be a mother, and provide food. Women had to get married. Kingston states, “When the family found a young man in the next village to be her husband…she would be the first wife, an advantage secure now” (623). This quote shows how women had to get married, which is a role women in China had to follow. Moreover, marriage is a very important step in women lives. The marriage of a couple in the village where Kingston’s aunt lived was very important because any thing an individual would do would affect the village and create social disorder. Men dominated women physically and mentally. In paragraph eighteen, “they both gav...
Mrs. Spring Fragrance, in Sui Sui Far’s The Inferior Woman, can be read as a subversive narrative as a means to comprehend the reasoning behind the rising American popularity of material Orientalism amongst white women during the 1870s and 1920s. Mari Yoshihara, a scholar in American studies with an emphasis on Asian relations, claims that “the material culture of Orientalism packaged the mixed interests Americans had about Asia—Asia as a seductive, aesthetic, refined culture, and Asia as foreign, premodern, Other—and made them into unthreatening objects for collection and consumption” (17). Mrs. Spring Fragrance subverts Yoshihara’s American and Asian dynamic by viewing white women as seductive, elusive, and foreign in an effort to turn