This story follows Wang Lang a poor young farmer in rural China that is forced by his father to marry a slave that belongs to the powerful local Hwang family. The Hwangs sell Wang a 20-year-old slave named O-lan who becomes his wife. O-lan and Wang Lung are pleased with each other, although they exchange few words and although Wang is initially disappointed that O-lan does not have bound feet. Together, Wang Lung and O-lan have a cultivate, beautiful and profitable harvest from their land. O-lan becomes pregnant, and Wang Lung is overjoyed when O-lan’s first child is a son. Meanwhile, the powerful Hwang family lives decadently the husband is obsessed with women, and the wife is an opium addict. Because of their costly habits, the Hwangs fall …show more content…
Wang Lung allows her to keep two small pearls, but he takes the rest and hurries to buy three hundred acres of Old Master Hwang’s land. O-lan gives birth to twins shortly thereafter. The strongest and most memorable character in The Good Earth is O-lan she exemplifies the situation of women in traditional China and the sacrifices they had to make in order to adhere to cultural notions of feminine respectability. Wang Lang’s position, and she receives neither loyalty nor passion from him in return. He is annoyed when she becomes pregnant with her second child, fearing that her condition will keep her from working in the fields, and later he has no qualms about cruelly insulting her unbound feet and taking her treasured pearls to give to his concubine. O-lan spends most of the novel as victim. It is O-lan who makes many of the hardest decisions in the novel as killing her infant daughter to spare food for the family, for instance and she has these hard decisions with admirable fortitude. O-lan never complains about Wang Lung’s cruelty in insulting her feet—but she does immediately begin binding her daughter’s feet, warning her daughter not to complain of the pain for fear of angering Wang Lung.O-lan represents the dignity and courage of the marginalized
Feng Meng-long’s story, “Du Tenth Sinks the Jewel Box in Anger,” authentically represents how money is valued between Du Tenth and Li Jia. The classic story brings forth how tradition and family values are upheld in the highest honor. The young master Li Jia, who is the son of a prominent local official, embarks on a journey to the Ming capitol of Nanjing with the intention of taking exams. During his travels he meets the beautiful courtesan named Du Tenth who is bound to her madam in a house of ill fame in what is known as the pleasure district. Li Jia, being an immature and unmotivated by any type of responsibility, finds himself splurging all of his travel funds on pleasures with the beautiful Du Tenth. The couple find themselves to have fallen in love with one other. Du Tenth proves to be a very smart and loyal character. She cleverly devises a plan to escape her bind to her madam and leave to be with her love. When the couple make their departure, they go on their journey to their new life together as husband and wife. Du Tenth continues to prove how smart she is by showing time and time again to Li Jia that she was very prepared for their future. The story tragically ends when the gullible Li Jia is tricked by the manipulating Sun Fu to trade his love, Du Tenth, for a thousand pieces of white silver.
Liang's main interests consist of movies, stories, tap-dancing, and imitating Shirley Temple. Wong-Suk buys her expensive, beautiful ribbon one day for her second hand tap shoes and Poh-Poh helps her tie them into fancy flowers. -- This is where we learn a bunch about Poh-Poh's childhood. She was born in China and so it was already too bad that she had be born a girl child. But further more she was sort of disfigured. Her forehead was sloppy and mis-shapen and immediately everyone told her mother she was the ugliest baby ever. Her mother sold her to a wealthy family; where she was a servant. The concubine would beat her and their other servants with a rod-- as if they were oxen. Poh-Poh had to learn to do things quickly and flawlessly or she would be beaten. Her fingers would bleed because she was practicing tying these intricet(abc?) patterns. She of course grew out of her 'deformity' and was quite a pretty lady.
In the epilogue to The Death of Woman Wang, we see several ways in which Chinese culture determined the sentence meted out to the Jens by Huang. False accusation of innocent persons was a capital crime in 17th century China, punishable by death. The Jens, however, were not executed. The largest factor in sparing the younger Jen, was based around the cultural importance placed on continuation of family lines and the strict ways in which this could acceptably happen.
Yan Zhitui states that, "women take charge of family affairs, entering into lawsuits, straightening out disagreements, and paying calls to seek favor...the government offices are filled with their fancy silks." (Differences between north and south, 111). Yet, even in the Qing dynasty women were still restricted by and expected to uphold more traditional ideals, especially in the public eye. So, in the end, through her virtue, Hsi-Liu’s two children we able to become upright. Here, there is a split between what a woman is supposed to be according to old Chinese tradition, and the realities facing women in Tancheng. The loss of her husband, and economic hardship had forced His-Liu to behave in a different way, as if she were usurping the power from the eldest son so she could teach the two boys a lesson about being good family members. While she still maintains the ideals of bearing children, and being loyal to her husband, even after he dies, out of necessity she is forced to break from Confucian ideals of being only concerned with the domestic issues. This too put her at odds with the more traditional society around her, as the villagers pitied her sons, but vilified the Hsi-Liu for being so strict with them (Woman Wang, 65). Had she remarried, she would have been looked down upon even more because she would had broken her duty to remain faithful to her deceased
I would like to point out that Wang Lung was never the most filial of men. Early in the novel, we saw him slip up once or twice. However, at a younger age, he felt guilty when this happened and was able to hold his tongue in most situations. Wang Lung’s uncle is able to exploit Wang Lung based on his filial piety. When the uncle, a lazy man who blames his struggles on an “evil destiny”, asks his nephew to borrow money, Wang Lung explodes, saying, “‘If I have a handful of silver it is because I work and my wife works, and we do not…[let our] fields grow to weeds and our children go half fed!’” (65). But right after he lets these words slip, he “[stands] sullen and unmovable” (66) because knows that his outburst is wrong. However, later in the novel, Wang Lungs lack of sense for filial piety grows evident as he becomes more arrogant. For example, when he is nearing the end of his life, Wang Lung asks without a second thought to be buried below his father but above his uncle and Ching. Asking to be buried above his uncle makes the statement that Wang Lung believes he is a greater man than his uncle. Before his rise through the ranks of society, Wang Lung would never have even considered being buried above his uncle, even though he always had a disliking for him. However, because of his power, he feels that he has the right to disrespect his
Most critiques of The Good Earth are preoccupied with the authentic quality of the novel, and while the Western critiques praise it as a novel based on facts, the Chinese hold a different view. Kang Younghill, a Chinese man, in reference to the image Pearl Buck created of China, stated that "it is discouraging to find that the novel works toward confusion, not clarification" (Kang 368). This statement illuminates Kang's feelings that the details, which Buck had presented as factual in the novel, were contrary to the actual life of the Chinese. Yet researches have shown that Buck was rightly informed and presented her information correctly. One detail that she paid special attention to was the family structure within the rural Chinese family, which she presented in the form of the Wang Lung household. The family structure demonstrated by Buck is not restricted to the Wang Lung family, but was a part of every rural Chinese home in the early 1900s. Every member's experiences within the family structure are determined by the role and expectations placed on them by the society, and Buck was careful to include these experiences in Wang Lung's family.
When his wife, O-lan sees this drastic change, she is horrified and rebukes her husband, telling him he “cut off his life”. O-lan’s criticism leaves Wang Lung regretful about his decision to cut his hair. Buck emphasizes the mutation of the symbol of hair in this passage, as Wang Lung’s hair no longer represents his loyalty to tradition, but rather his yearning to be modernized. O-lan emphasizes Wang Lung’s conversion to modernism when she exclaims that he “cut off his life”, which indicates that Wang Lung is ditching his traditional lifestyle by modernizing his hair. While Wang Lung does assimilate more to modern culture, he does experience guilt, realizing that he is being controlled by Lotus. Wang Lung’s regret proves that while his hair represents mostly modernism, it also of a bit of traditionalism. Therefore, Buck utilizes hair to highlight Wang Lung’s shift in
It begins with a happy 9-year-old girl named Ling who lives in a hospital complex with her father, a very successful surgeon, and her mother, a well-known doctor. Her mother, known as Mrs. Chang, is very strict, always nagging Ling to act like a woman and to be perfect in almost every way. Ling believes it is because her mother never wanted to have a daughter. Father, on the other hand, Mr. Chang, spent much time with Ling, and got very close to her, teaching her reading and English lessons. He would
He uses the money to buy some seeds, a new ox and he is able to return back home. The greed starts to set in when Wang learns that his wife stole some jewels from when there the looting was happening. They talked it over and agreed to buy some more land leaving O-lan with two pearls. The good thing that has come out of Wang looting another person’s home helped him understand why others did so to him and led him to forgive them. He becomes so wealthy that he is able to buy Ching’s land and build enough rooms for him to live in and to also buy laborers. Wang buying laborers shows what wealth does to a once poor peasant man. He is not the one that cares for his land nor is he compassion about his land anymore. Wang hits the biggest turning point when he disrespects his wife and tells her that she is not fit to be a wife of a wealthy man. “Now anyone looking at you would say you were a wife of a common fellow and never of one who has land which he hires men to plow!” (Buck, 168). Wang then starts to “buy” more wives because that is what wealthy men do. In the end Wang ends up like the rest of the wealthy men the he never thought he would become. He got his own uncle’s family addicted to opium, wouldn’t give other refugees seeds without either having high interest or giving up some of their land. This was one of Buck’s main goal, to show the readers what happened to people when they were consumed by wealth and started to become
The contrast Huong provides between the reality of Hang’s impoverished life and the beauty of the scenery that she experiences, emphasise the powerful effect the landscape has on her. When describing the first snowfall she ever observed, Hang noticed that the snowflakes “flood[ed] the earth with their icy whiteness,” this observation “pierc[ing her] soul like sorrow.” The scenery had such a moving effect on Hang, perhaps because she longed for the familiar sight of a Vietnamese landscape. Then recalling a time when her mother took her to a beach, the exquisiteness of the scene at dawn was equally emotionally poignant to Hang, not because she wished for a recognisable sight, but because it was such an extreme difference from the slum in Hanoi where she grew up. The sensory details of her childhood remain with Hang even years later, acting as a reminder of her humble beginnings even as she advances in life. The stench of “rancid urine” that permeated the walls of the slum and the hut where she and her mother lived, with its persistently leaky roof “patched together out of…rusty sheet metal” ; build a vivid picture of poverty. To then be exposed to the breathtaking vista of a natural landscape, having experienced the scarceness of beauty in the slums that is her home, causes distress in Hang.
The family's personal encounters with the destructive nature of the traditional family have forced them to think in modern ways so they will not follow the same destructive path that they've seen so many before they get lost. In this new age struggle for happiness within the Kao family, a cultural barrier is constructed between the modern youth and the traditional adults, with Chueh-hsin teeter tottering on the edge, lost between them both. While the traditional family seems to be cracking and falling apart much like an iceberg in warm ocean waters, the bond between Chueh-min, Chueh-hui, Chin and their friends becomes as strong as the ocean itself. While traditional Confucianism plays a large role in the problems faced by the Kao family, it is the combination of both Confucianism and modernization that brings the family to its knees. Chueh-hsin is a huge factor in the novel for many reasons.
The Death of Woman Wang, by Jonathan Spence is an educational historical novel of northeastern China during the seventeenth century. The author's focus was to enlighten a reader on the Chinese people, culture, and traditions. Spence's use of the provoking stories of the Chinese county T'an-ch'eng, in the province of Shantung, brings the reader directly into the course of Chinese history. The use of the sources available to Spence, such as the Local History of T'an-ch'eng, the scholar-official Huang Liu-hung's handbook and stories of the writer P'u Sung-Ling convey the reader directly into the lives of poor farmers, their workers and wives. The intriguing structure of The Death of Woman Wang consists on observing these people working on the land, their family structure, and their local conflicts.
“‘If you sell the land, it is the end.’” (360). There is absolute truth in these words, if one was in rural, turn-of-the-century China. These wise words, quoted by the main character Wang Lung, come from Pearl S. Buck’s enlightening historical fiction, The Good Earth. In the story, Wang Lung, a poor young farmer, marries a slave of the powerful Hwang family, O-lan. Together, they face hardships and triumphs, prosperity and famine, along with the birth of their three sons and two girls (the fifth child died of strangulation). Throughout Wang Lung’s life, he evolves dramatically in response to the many challenges he faces. In particular, his wealth, idea of women, and the earth itself change Wang Lung’s attitude and point of view as he rises in the social classes of China.
Wang Lung needs a wife so saves up the little money he has and buys a woman who is a slave named O-lan. O-lan is sold to Wang Lung so she can take care of the home, cooking and bear children. Wang Lung is disappointed when he first sees O-lan because she does not have bound feet which was a desirable quality at that time but he does enjoy when O-lan has the food ready when he comes in a night from the land. Wang Lung is very proud when O-lan makes cakes that no one else in the village knows how to makes and when his family comes to feast for the new year at their house.
Mitgang tells us that the novel is about the life of two children who live in a small town, where they deal with racism in society. Prejudice surrounds their childhood, and it lurks with them while they are playing, and even while they are in the classroom. Mitgang tells us that on top of all this, racism is conveyed in the children?s language.