Tag Archives: Chinese

The Myth of the Jade Rabbit

Nationality: Chinese-American
Age: 19
Occupation: Student
Residence: Los Angeles, CA
Performance Date: March 26, 2023
Primary Language: English
Language: Chinese

Text: “One day the goddess of the moon, Chang-e, needed help preparing the elixir of life. She knew that humans were too selfish for the task, so she decided to look among the animals. When she arrived, she asked all of the animals to bring her sacrifices, like vegetables and handmade gifts. All the animals offered her gifts, and she collected them, but when she got to the rabbit, the rabbit confessed that she hadn’t been able to find a gift. The rabbit felt terrible, so she jumped into a fire and sacrificed herself, becoming a roasted rabbit for Chang-e to eat. The goddess was so impressed with the rabbit’s bravery and sacrifice that she resurrected the rabbit and brought her to the moon to help her make the elixir. And today, if you look closely enough, you can see the image of the rabbit on the moon.”

Context: The informant is a 19-year old Chinese-American student who heard this at her local Chinese Christian church in Orange County when she was around 8 years old. She admittedly had some concerns about the accuracy of the story but told it how she remembered it. 

Analysis: Despite the story’s explicit condemnation of humanity, an interesting tension arises in how the animals in the story are still indirectly anthropomorphized as they display the ability to understand language and comprehend success/failure on an intellectual level. There seems to be an inherent contradiction embedded in the fact that a human is not able to carry out this task but an animal, who is humanlike in every other sense, gets chosen instead. To explore this further, the central focus of the myth seems to be selflessness and the search for the ideal selfless being. Pure selflessness seems only to be attained by creatures and beings that are simultaneously like and unalike us, such as Jesus Christ, the quintessential Christian sacrifice who was both human and God, or an anthropomorphic rabbit, a non-human animal that exhibits humanlike traits. The rabbit also seems to be a sort of Messiah figure who lays down her life and ascends to heaven to dedicate her life towards serving humanity. Perhaps the story suggests that as humans, we recognize and strive towards goodness/selflessness within ourselves, but at the same time acknowledge that this ideal is unattainable for us as imperfect beings. This fundamental tension embodies the paradigmatic approach to the myth pioneered by Claude Levi-Strauss, who explains how dichotomies inherent in myth are reflective of larger social and cultural paradigms. I believe the tension demonstrated here is the fundamental tension between mortality and the soul: our spiritual capacity for good but our mortal folly that prevents us from always acting on it. Only very special messianic figures, like Jesus and the rabbit, who are simultaneously both human and not, are able to act with this degree of selflessness and bridge the gap between mortality and the divine by performing the ultimate sacrifice. The difference between humans and the messiah is that humans are composed of both body and spirit, only part divine, whereas the messiah is both fully human and divine simultaneously, which is a great paradox beyond our ability to comprehend. Perhaps, this was why humans were not chosen in the story, because such a selfless task requires a being ontologically separate from (but still related to) humanity all together: a creature that physically embodies this Straussian dualism where mortality and divinity simultaneously inhabit the same being. Nonetheless, the connections to contemporary Christianity seem striking, and perhaps these messianic themes have more polygenetic roots than initially thought. This could also serve as a reflection on Christianity’s influence in China and an attempt for the Chinese people to reclaim their own form of cultural agency in the messianic narrative. 

 

The Butterfly Lovers

Nationality: Chinese-American
Age: 19
Occupation: Student
Residence: Los Angeles, CA
Performance Date: March 26, 2023
Primary Language: English
Language: Chinese

Text: “This is the story of the Butterfly Lovers–it’s really well known and is like the Romeo and Juliet of Chinese legends. So one day, a long time ago, back when women weren’t allowed to be educated or go to school, there was a young lady who wanted desperately to be educated, but her parents told her that she couldn’t. However, she was determined to find a way to go to school and devised a plan to get into a boarding school by dressing as a boy. She managed to get into school and no one suspected anything. While she was away at school, she became really close friends with a guy, and they did everything together, though he didn’t know she was a girl. But as she got older, it became harder and harder for her to hide it. One day, while she was taking a bath in the river, some boys came to make fun of her and were trying to get her to come out, but she couldn’t and her friend came and chased them away. He told her to come out and she told him that he had to turn around, which he did. Once school ended, it was time for her to get married, and she told him that she had to leave, and he got very upset. So she left and was forced into an arranged marriage with a wealthy aristocrat. Her old friend found out that she was a girl and asked to marry her, but the parents said no since the other marriage had already been arranged. So, the two of them ran away and jumped off a cliff, killing themselves since they couldn’t be together. The parents were distraught and realized they should’ve allowed the marriage, so as a last attempt to let them be together, they buried them together in the cemetery under the same gravestone. But at the funeral, lightning struck the gravestone and split it in half, and out of the gravestone flew two butterflies–a pink one and a blue one–and both flew off together into the night.” 

Context: The informant is a 19-year old Chinese-American student who initially heard this as a bedtime story from her parents when she was younger; however, she recently remembered it while working on a screenplay and asked her mother to retell it to her.


Analysis: This legend represents a poignant form of social critique. In The Butterfly Lovers, two young lovers are prevented from pursuing a life together due to the institutions of arranged marriage forced upon them. As the informant acknowledged, it bears some striking similarities to Romeo and Juliet, which was also the story of a couple’s demise following the imposition of an arranged marriage. However, it is not just in the play’s explicit critique of arranged marriage that draws my interest, but also its more implicit, symbolic critique that is worth exploring. Legends have the characteristic ability to blend reality with the supernatural, and the supernatural element can be used as a tool to express or reinforce a social critique or function. This story utilizes the supernatural in this exact way in order to implicitly critique the oppressive and unethical institution of forced marriage. Not only is this message made explicit in how the lover’s kill themselves and their parents’ subsequent regret, but it is twice reinforced by the legend’s symbolic conclusion with the two butterflies that spawn once lightning strikes and fly away together into the night. A butterfly is a well-known symbol of metamorphosis, and in this instance, it represents a transformation into spirit, where the protagonists are no longer tethered to worldly expectations and are free to be together in a new, transcendent form. In other words, and excuse the cliché (although its pertinence and pervasiveness in our culture cannot be denied), love will always find a way, and thus our attempts in society to restrict and control it through arranged weddings, banning gay marriage, etc. will never truly succeed. I believe this legend, perhaps in a way similar to myth, naturalizes love and suggests that oppressive institutions and regulations should never be enforced on it. In reality, the story suggests, love will always adapt and find a way to circumvent the futile attempts to control it. It seems to critique the ancient Confucian principles that prioritize love as duty and commitment in marriage, rather than genuine emotional attachment, and acknowledges that love can exist separately from marriage, which is a fascinatingly progressive message for a piece of ancient Chinese lore. In all, this legend is more than a bittersweet love story, but rather a commentary on the nature of love itself. However, this could have very well been a more recent variation that took on a new meaning to conform to contemporary values and attitudes, whereas older versions which may have taken a more conservative stance that aligned more closely with Confucian ideals.

The Crushed Lady

Nationality: Chinese-American
Age: 19
Occupation: Student
Residence: Los Angeles, CA
Performance Date: March 26, 2023
Primary Language: English
Language: Chinese

Text: “So, my mom told me this story. Back when she was younger, she worked on this project in China, and they had to knock down a mountain to do it. But the mountain is a village and people dug out holes in the mountain to live there. So, the people had to flatten the mountain, but one of the construction workers accidentally flattened a woman. And legend has it, people say, the man suddenly switched up and started talking in the woman’s voice. He said, in a woman’s voice, “Who just flattened me?” and then he would switch back to his own voice and the two voices began to have a conversation. They eventually started talking about how they would get together: the woman said that because he flattened her no one would date her, but the man told her that he would. This was terrifying to everyone who saw it, so they took him to a hospital, but no one could help him there. Then they took him to a shaman who couldn’t do anything either. Finally, they went to a butcher who took out two really big knives and hit them against the ground, telling the spirit of the woman to get out, after which the woman finally left and stopped talking. Afterwards, the man snapped out of it and had no idea what happened.”   

Context: The informant is a 19-year old Chinese-American student who heard this story from her mother a few months ago, who was present at the time and place in which it took place. She would not disclose the location where the story took place out of fear that the story was cursed and something bad might happen to her if she revealed any more details. 

Analysis: This supposed firsthand account expresses some very interesting attitudes towards ghosts. In spite of the perceived curse surrounding this story, and how terrified the informant recalls her mother being when she told it to her, I cannot help but wonder if the story would have been even more terrifying and difficult to digest had the woman just been crushed, an innocent life, accidentally and irreversibly taken. Ülo Valk describes that ghosts can be a way for people to process difficult, confusing, and upsetting realities. Perhaps, this ghost story was actually an attempt to assuage the horror of sudden death that the story describes by having the woman live on in the consciousness of the man that killed her. It is also fascinating to consider how the woman’s spirit was removed from the body of the man. Both a hospital and a shaman–traditional sources of healing in most societies–were useless in helping him. It was, as a matter of fact, a butcher, a known facilitator of death, quite the opposite of healing, that was able to successfully exorcize the woman’s spirit. Perhaps, the butcher is symbolic of the very reality that the story refuses to acknowledge: the acceptance of death. I believe the subliminal message in this legend is that death is a harsh, blunt reality, and despite our attempts to lessen its blow by conjuring up spirits or magical awakenings, that reality will never change, and we can only fully heal once we have accepted it in its purest form. This belief may also be rooted in Chinese Buddhist practices where the belief in samsara (traditionally a Sanskrit term), continuous death and rebirth, is widely accepted. According to samsara, no one truly dies, your spirit merely transfers from one form to another, and this story may represent a malfunction in that process, hence why it is viewed as cursed. 

虎姑婆 Grandaunt Tiger: A Taiwanese Bedtime Story

Context: Informant is a mother with two daughters. She was telling this story as a bedtime story to the younger daughter. This is a traditional bedtime story for Taiwanese people. The story is normally told when the child is refusing to go to bed. Since it’s a has a scary plot in it, the child will usually get scared and then complied.

Text:
Informant: Once upon a time, there was a tiger who wished to become human through magical practices, which involves eating human children. One day, the tiger heard that a mom left the home to visit the sick grandma, leaving the house with only two kids. Before she left, the mom reminded the kids that they should not open the door for anyone other than her. The tiger saw this as an opportunity, but he needed to figure out a plan to trick the children to open the door for him. He used his magic power to transform into an old woman. He knocked the door and yelled, “Open the door. Your mom asked me to come take care of your guys.” The kids responded through the door, “Mom said not to open the door for anyone.” “But I’m old and walked so far to come here. Please let me in to rest and drink some water.” The kids opened the door for the old woman. As the old woman was resting in a chair, the kids asked more about who she is and where she is more. The old woman, played by the tiger, answered with her hoarse voice, “I’m your distance relative. Your mom told me to come take care of you two while she is away to visit your grandma.” Hearing what she said, the kids let down their guard; they thought no stranger would know about their grandma being sick. They invited the old woman to stay the night. At night, when everyone was asleep, one of the kid heard an unusual noise. Crackling noise coming from the other side of the bedroom. Through the shadow projected on the wall, the kid discovered the scariest thing. The old woman was eating the other kid. She ran out of the bedroom and climb all the way up on the nearby tree. The tiger noticed the kid was gone, hurrying out to chase her down. The kid was stuck in the tree with a tiger pacing around underneath; fortunately, the tiger don’t know how to climb a tree. The kid came up with a plan to get herself out of danger. She said to the tiger, “Eat me raw is too plain. How about you heat up a pot of hot oil and carry it here? I will jump in the pot and you can enjoy the tasty fried meat afterwards. I promise I won’t runaway while you are heating the oil” The tiger couldn’t resist the idea of the delicious food he could get, so he went in the kitchen and brought out a big pot of hot oil. The kid was still on the tree. She asked the tiger to use a rope and hang the pot all the way up where she was so that she could jump in the pot herself. The tiger found a rope and hung the pot up onto the tree. The kid said,”Now close your eyes and imagine the delicious meat while I get into the pot.” The tiger close his eyes. The kid dumped the whole pot of hot oil onto the tiger. The tiger screamed in pain and died beneath the tree. The kid slowly climbed down the tree, walked out the front yard, and found her mom who just got back home.

Analysis:
The story can also be found in Southeast China where most of the Taiwanese came from. The story is classified as AT333, same as Little Red Riding Hood. There are numerous variations of the story. In some, the kid was offered a piece of her siblings to eat. Sometimes the older kid was eaten, and other times the younger one. The genders of the two children also vary from version to version. The gender of the tiger is unknown, but usually portrayed with deeper voice and more male-like manner. The tale was meant to terrorize the kid to go to bed, but many times it causes the kid to be too scared to full asleep. The parent usually would say something along the line with “If you don’t sleep right now, Grandaunt Tiger will come and eat you.” However, that is exactly why the kid got eaten in the story: they went to bed and the tiger ate one of them. The contradiction is interesting and seemingly illogical. One possible explanation is that because the parent is present in these situation, they will protect the kid. It is more like “I will let bad things happen to you if you don’t do what I say.” The story of Grandaunt Tiger is adapted into traditional Taiwanese puppet show and there is a lullaby evolved from the story also named Grandaunt Tiger. The lyric attached below:

好久好久的故事 是媽媽告訴我
在好深好深的夜裡 會有虎姑婆
愛哭的孩子不要哭 他會咬你的小耳朵
不睡的孩子趕快睡 他會咬你小指頭
還記得還記得 瞇著眼睛說
虎姑婆別咬我 乖乖的孩子睡著囉

Transliteration:
The story from long, long time ago. My mom told me
In the deep deep night, there will be Grandaunt Tiger/
Baby who cries do not cry. He will bite your little ear
Baby who don’t sleep quickly goes to sleep. He will bite your little pinky.
Still remember. Still remember. Squinting my eyes and say
“Grandaunt Tiger don’t bite me. This good kid is already falling asleep.”

好久好久的故事 是媽媽告訴我
在好深好深的夜裡 會有虎姑婆
愛哭的孩子不要哭 他會咬你的小耳朵
不睡的孩子趕快睡 他會咬你小指頭
還記得還記得 瞇著眼睛說
虎姑婆別咬我 乖乖的孩子睡著囉

The Monkey King

Nationality: Chinese
Age: 18
Occupation: Student
Residence: Los Angeles, CA
Performance Date: 03/29/2023
Primary Language: English

Text:

AX: “There’s this old story about something called the Monkey King, and how he goes from being… he goes through all these trials and training, like Hercules and the twelve trials. He goes from this little monkey who goes through all these problems, solving some and causing others, he ends up achieving godhood and he’s the savior. He has a trusty staff that can expand in size. It was very special that we had to remember that he has 72 transformations. It’s him, a pig, and like a sage, and there’s a monk that all of them follow. A journey to the West. If you go west enough, further west, you’ll hit mount Olympus, or the equivalent of that: enlightenment. So they try and go to the West and everything. It was important that the monkey king had 72 transformations, his little brother had 36, and then his youngest brother had 18, it was very important that we remember that. So this Monkey King has a band around his head, it’s gold and it’s enchanted, so his monk, his master can chant something whenever he’s misbehaving and it’ll tighten around his head in punishment. So like as they journey to the west, he always has this headband on him, so when they finally reach the west and everything, Buddha takes off the golden band and replaces it with a halo to represent how he’s gone from being imprisoned from his thoughts to him being enlightened, above that. When it was on his head, it was in contact with his skin, but when it was replaced, it hovered slightly above it.”

Context: AX is a freshman at USC studying English—she’s a fellow student in our folklore class and knows the material well. She grew up in Chino, a small suburb outside of Los Angeles. She’s of Asian descent.

AX: “My mom always called me her little monkey king, and would threaten me. Don’t make me put a red band around your head! Like, yes ma’am. I cannot misbehave!”


Analysis: The Monkey King is a common story, common enough for me, a white Californian, to have heard of it. Right off the bat, she compared her story to Hercules and the twelve trials. In Western society, Hercules is more commonly known, partially due to academic emphasis on Greek/Roman mythology and the popular Disney movie Hercules. AX’s childhood in California may have resulted in this association, almost a need to preface with a comparison to Western culture. I wonder if AX’s knowledge of the folklore class impacted her interpretation. The numerology of the story itself is interesting, especially since AX knew they were important but didn’t know what they mean. All of the numbers AX said are multiples of 2, 3, 6, and/or 8, which are all lucky numbers in China. And, of course, each is a multiple of the other. 18 times 2 is 36, and 36 times 2 is 72. 72 in particular is frequently used in Chinese folklore, occurring across a vast number of stories, and it’s the base of calculation in the ancient Chinese calendar.