Flowers In The Mirror

Posted : admin On 8/23/2021
There are many uses of satire in Jonathan Swift’s A Modest Proposal and in Li Ruzhen’s Flowers in the Mirror. Both of these readings address social issues during the 17th and 18th century and address them with various uses of satire to help emphasize their thoughts of dislike and carry that to their readers. Jonathan Swift’s A Modest Proposal proposes using poor bastard children as food to help the poverty level along with other social issues that come with poor women carrying children and having to take care of them. Li Ruzhen’s Flowers in the Mirror gives a very detailed and eye opening view of a country where men and women’s roles in society are reversed to give readers and insight and different perspective of the social issues of how women are treated. To truly understand what Jonathan Swift’s A Modest Proposal and Li Ruzhen’s Flowers in the Mirror were trying to portray with the use of satire, a deeper look into the time era and social issues of when it was written needs to be revealed and addressed. Jonathan Swift’s A Modest Proposal addresses issues with the poor Irish peasants that were too poor to feed their families. The British Government is partially to blame for the poverty as they exploited the Irish and never gave them a chance to come out of the poverty stricken routine that they were in. Swift has used satire in writings before, including Gulliver’s Travels, to get his points across of social unevenness. In A Modest Proposal Swift gives the idea of eating
  1. Flowers In The Mirror Analysis
  2. Flowers In The Mirror Li Ruzhen

Flowers in the Mirror is set in the reign of the Empress Wu Zetian who reigned from 684 to 705 in the Tang Dynasty. She took the throne from her own son, Emperor Zhongzong of Tang. Empress Wu lets the power she is given go to her head, and demands that all of the flowers on the earth be in.

I bought a famous classic book and read it. I woke up and became the main character of the book. In order to get out of the book, I have to Live in the book until the end of the story. Only when the author shows evidence of his feminist attitude does one see a deep trait in Chinese culture and sense the commitment behind the satire. On the whole, however, Flowers in the Mirror says little to a 20th century Western reader. Flowers in the Mirror' There are certain limitations in the images of women and the ideological emancipation in the 'Marriage of Flowers in the Mirror'. The reason is that the era in which 'Marriage of Flowers in the Mirror' is in belongs to the patriarchal society. The male-centered consciousness is the mainstream. The Adverb Cai on the Flower in the Mirror,H146,I106.4; Irony in Gulliver’s Travels and Flowers in the Mirror,I106.4,I207.419; Women and Urban Duo,I207.42; On Wang Anyi Everlasting Regret Shanghai literary features,I207.42; From Traditional Native Writing to Modern Vernacular Lyric,I207.42; Wipe Other Life with a Life,I207.42.

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Flowers in the Mirror (simplified Chinese: 镜花缘; traditional Chinese: 鏡花緣; pinyin: Jìnghuāyuán), also translated as The Marriage of Flowers in the Mirror, or Romance of the Flowers in the Mirror, is a fantasy novel written by Li Ruzhen (Li Ju-chen), completed in the year of 1827 during the Qing dynasty.

The 100-chapter novel is well-known today for its various kinds of fantasy stories and humorous writing style.

Plot summary[edit]

Flowers in the Mirror is set in the reign of the Empress Wu Zetian (684–705) in the Tang dynasty. She took the throne from her own son, Emperor Zhongzong of Tang. Empress Wu lets the power she is given go to her head, and she demands that all of the flowers on the earth be in bloom by the next morning. The flower-spirits fear her and follow her orders, but they are then punished by the gods for doing so. Their punishment is to live on earth. Once their penance is complete, they will be allowed to go back to heaven again.

Tang Ao is the father of the incarnation of the Fairy of a Hundred Flowers. The Empress suspects him of having had a part in plotting rebellion against her and so she takes away his high scholarly rank and leaves him with the lowest rank that one can attain. Tang Ao responds to this by freeing himself from the coil of the mortal strife which binds the soul to the body and resolves to become an immortal by cultivating Tao.

Tang Ao is then told by a dream spirit that his destiny lies in foreign parts; and he decides to go overseas by junk with his brother-in-law, Merchant Lin. Tang Ao finds twelve of the incarnated flower-spirits during his journey and helps them all with the difficulties that they are having. Doing so enables him to become an immortal and, at the fair mountain of Little Penglai, he disappears.

During his journey, Tang Ao travels to the Country of Gentlemen, the Country of Women,[1] the Country of Intestineless People, the Country of Sexless People, and the Country of Two-faced People, as well as many other countries. In the second half of the book Tang Ao's daughter goes to Little Penglai to look for him after his disappearance. Also, the incarnated flower-spirits take part in the 'Imperial Examinations for Women', and along with their husbands and brothers they rise up and overthrow Empress Wu's rule, so restoring Emperor Tang Chung-tsung to the throne.

Theme[edit]

The novel is known for its contribution to the idea of feminism. It eulogizes woman's talents, fully acknowledges their social status and breaks the old concept of gender roles. The author's idea is reflected through his creation of “The Nation of Girls” (女儿国/女兒國), where a woman is the center of all. Men are made to dress like woman and stay at home and look after the children, while women wear men's clothes, own businesses and are involved in politics. From the emperor to officials and servants, all are women. The author reinforces the idea that a woman's capability is not any less than a man's and that they can do just about anything that a man is capable of.

The author's ideal society is expressed through another model, the 'Comity of Nation' (君子国/君子國). The name itself in Chinese, junzi, is originally from Confucius tradition and means a person of noble character and integrity. The real world during Li Ruzhen's time was rather a nation of contention that is opposed to the idea the 'Comity of Nation' which suggests: 'rather yielding than arguing' (好让不争/好讓不爭). Under the author's imagination, there is no putridity; no bribes between officials; citizens are all amicable and live a joyful life under a steady and rich government.

Background[edit]

The author, Li Ruzhen, apparently believed in equal rights for women, a revolutionary idea in the feudal society of his day. In writing Flowers in the Mirror, he was attempting to ask for equality of men and women. When Li writes about the different countries he is giving his aspirations for an ideal society. The novel is full of fantasy which shows the author's unique vision of life.

Li had planned on writing a sequel to the Flowers in the Mirror but never did. He spent fifteen years writing the one hundred chapters of Flowers in the Mirror, and three years after it was published, he died. Li said that those of his friends who had been having trouble emotionally laughed when they read the first one hundred chapters and insisted that he get them published without writing any more.

See also[edit]

  • The Peach Blossom Spring: Another journey to a flower-related utopia.

Other late-imperial fantasy novels, whose content and style are comparable:

Flowers In The Mirror
  • Journey to the West by Wu Cheng'en
  • Romance of Gods by Xu Zhonglin
  • Strange Stories from a Chinese Studio by Pu Songling

References[edit]

Flowers In The Mirror Analysis

  1. ^Keith McMahon Misers, Shrews, and Polygamists: Sexuality and Male-Female .. 1995 Page 284 'Chaste and Unchaste Heroines in Jin Yun Qiao and Jinghua Yuan

Flowers In The Mirror Li Ruzhen

Chinese Wikisource has original text related to this article:
  • Zhu Meishu 朱眉叔 (1992): Li Ruzhen yu Jing hua yuan (李汝珍与镜花缘/李汝珍與鏡花緣 'Li Ruzhen and Flowers in the Mirror'). Shenyang: Liaoning jiaoyu chubanshe.
  • Li, Ju-chen (1965). Flowers in the Mirror. Translated by Lin Tai-yi. California: University of California Press.
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