“‘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.
Money and wealth change and influence Wang Lung as he evolves from a common peasant to a wealthy noble. For instance, towards the beginning, after he is shaved by a local barber before heading off to the House of Hwang, Wang Lung sees “the money counted into the barber’s wrinkled, water-soaked hand . . . [and] had a moment of horror” (11). A poor peasant in the beginning of the story, Wang Lung always thought completely about how he spent his money, whether he was shaving his face to look presentable or the wedding day itself. Thus, he wasn’t prone to spoiling himself with unnecessary luxuries, and thought of money to be used only when it is needed. Thereafter, on his second visit to the local House of Hwang, Wang Lung is treated as one of the nobles for his growing wealth and prospering harvest, shown when the gateman’s wife “presented to him [a bowl of tea] and he set it before him and did not drink of it, as though it were not good enough in quality tea leaves...
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...out his life as he ascends China’s social ranks.
Indeed, truth did come in Wang Lung’s final words, in which families end once they have sold their land, the place where they came into the world and where they intend to leave it. In final analysis, through these words, Wang Lung shows the change he progressed throughout his life; his growing wealth, his portrayal of women, his good earth, all of which took part in influencing him. The land especially, hence the title of the book The Good Earth, for throughout the book, the earth represented the constant, forever unchanging, cycle of life and death, shown through seasons of abundance and droughts. Conveyed through The Good Earth, Pearl S. Buck desires everyone to live simple, unpretentious lives respecting the land, and to eradicate any avarice or greed in us, because, in reality, we are able to improve humanity.
There are little to no direct accounts of how individuals’ lives were a couple thousand years ago in Ancient China. With a wealth of information on the rise, decline, and fall of empires, Michael Loewe, a sinologist who specializes in oriental studies and theology, writes an imaginary story about a hero named Bing set around 70 BCE. Bing: From Farmer’s Son to Magistrate in Han China is Loewe’s fictional portrait of life during the Han Empire. It is by no means a comprehensive historical account of Han times, in fact, it was written with those readers who are not familiar with Chinese in mind, however through the life of Bing we can gage how the lives of laborers, those involved in military service, merchants, and government officials might
“The Death of Woman Wang”, written by Chinese historian Jonathan Spence, is a book recounting the harsh realities facing citizens of Tancheng country, Shandong Province, Qing controlled China in the late 17th century. Using various primary sources, Spence describes some of the hardships and sorrow that the people of Tancheng faced. From natural disasters, poor leadership, banditry, and invasions, the citizens of Tancheng struggled to survive in a devastated and changing world around them. On its own, “Woman Wang” is an insightful snapshot of one of the worst-off counties in imperial Qing China, however when taking a step back and weaving in an understanding of long held Chinese traditions, there is a greater understanding what happened in
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.
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
Throughout the book The Good Earth written by Pearl S. Buck, it shows the evolvement of the main character Wang Lung and how owning or not owning land in the 1920s is affected by peasants in China. It also shows the struggles of a peasant’s life, going through poverty and what happens when wealth enters their lives. Owning land as a peasant is an important aspect of their living style, simply because they live off of what they are able to grow that season. They depend on their land for resources to provide for themselves and family; and also selling crops or trading crops in order to make money. The peasants of China exemplify how important their crops and land are to them throughout the whole book by showing love and compassion for them; but,
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.
There are many things that most people take for granted. Things people do regularly, daily and even expect to do in the future. These things include eating meals regularly, having a choice in schooling, reading, choice of job and a future, and many more things. But what if these were taken away and someone told you want to eat, where and when to work, what you can read, and dictated your future. Many of these things happened in some degree or another during the Chinese Culture Revolution under Mao Zedong that began near the end of the 1960’s. This paper examines the novel Balzac and the Little Chinese Seamstress by Dai Sijie and a book by Michael Schoenhals titled China’s Culture Revolution, 1966-1969. It compares the way the Chinese Cultural Revolution is presented in both books by looking at the way that people were re-educated and moved to away, what people were able to learn, and the environment that people lived in during this period of time in China.
Spurling, Hilary. Pearl Buck In China Journey to the Good Earth. New York: Simon & Schuster, 2010.
A wise man once stated, “Earth provides enough to satisfy every man 's needs, but not every man 's greed.” -Mahatma Gandhi. Mahatma Gandhi was one of the wise people that realized we need to take better care of our home planet Earth. Another wise person who also thought the Earth should be taken better care of was Rachel Carlson. In 1962 Carlson wrote “The Obligation to Endure” in hopes to educate people on this matter. In this essay I am going to explain how Carlson’s ideas have changed since she wrote her book in 1962.
Anita Chan, Richard Madsen and Jonathon Unger, Chen Village: The Recent History of a Peasant Community in Mao’s China (Berkeley, University of California Press, 1984)
Throughout The Good Earth by Pearl S. Buck, O-lan showed herself as a very humble woman. O-lan was a slave in the House of Hwang before her marriage was arranged by the Old Mistress of the House of Hwang. O-lan was faithful throughout the book to Wang Lung through harvest, famine, and even when Wang Lung brought home another woman. O-lan was a hard worker and worked even when no one told her to. She had wisdom that only a slave and a hardworking woman could acquire. Pearl S. Buck reveals many things that all show O-lan to be the humble woman she was.
As Walker lightens the reader with the importance of quilts in “Everyday Use”, she amplifies the significance of it by presenting Maggie, the younger of two sisters. Maggie’s strong attachment to these quilts have carved memories in her heart that she ‘”can’ member Grandma Dee without the quilts”’ (Walker 321). I contrast is Maggie’s sister, Dee, who refers to them as “priceless” (Walker 320). Observing them from an economic view, she tries to posses them. The author implies that although both sisters differ in reasons to value quilts, the legacy that the quilts represent is indeed priceless. In “Hangzhou”, Chang presents the reader with a different legacy. Represented by the legend of the Pagoda, a female trapped spirit, the author reveals it as “a punishment” (Chang 101) for trying to hold a husband using dark sources instead of fathering him with a son. A strong belief handed down for generations. Regardless of their origin, these legacies encourage both families to deeply treasure the traditions that have formed each of
Feng Menglong continues to illustrate the concept of love in his short story or poem “Du Tenth Sinks the Jewel Box in Anger,” where money is given for exchange of a deep feeling for love. Money and the quantification of Human Relations in terms of silver coins in Feng Menglong's story, Chinese literature, is the profound work generated during the era of Yuan and Ming dynasties of creative narrative. In addition, throughout this spell, popularity of the vernacular narrative outstandingly cannot be overemphasized. As contrasted with the high degree of complex and conventional long-established fiction, vernacular narratives were build with a lot of flexibility and thus could well portray the amazing and sometimes sleazy literature of the Chinese life and cultural aspects of the ages, such as monetization of human relationships that came as a result of Ming dynasty's unparalleled success.
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.
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