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Morgan Vickery

CHIN 361

Li-Ling Hsiao

5 December 2017

Female Sexuality as a Means to an End

Within The Story of the Western Wing, The Peony Pavilion, and The Peach Blossom Fan,

there exist imbalanced power dynamics between the female and male protagonists that are

exemplified within their romantic interactions . Women are unable to take a direct and successful

active role in society (and therefore the plot of the plays) as a result of the constraints and

expectations that have been placed on them. However, Oriole and Bridal Du are able to utilize

their sexuality as equalizers and counterbalances within their relationships, and therefore are able

to influence events, and acquire authority or control over their circumstances . Fragrant Princess’s

fate embodies the consequences of what happens when women take an active role in society as

opposed to doing so indirectly through their male counterparts or embracing a passive approach.

The Story of the Western Wing uses sex as a significant catalyst to progress the plot, as the

entire conflict centers around the dilemma of premarital sex . Student Zhang is immediately

infatuated with the idealization of Oriole, and through Crimson makes advances toward seducing

her. At their first nighttime meeting, Crimson explicitly states how the pair are on the same plane.

“Truly husband and wife are of one mind…one stands ashamed, one is enraged” (Wang 212).

When Crimson and Oriole visit Student Zhang on the night that the affair begins, the encounter is

told from Student Zhang’s infatuated perspective. Oriole is almost ethereal in nature, and every

line describing their night together pieces together an image of absolute beauty and perfection.
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Student Zhang is so taken aback, that he promises “…on another day I shall repay this favor like

a devoted servant” to which Oriole replies “May you never disdain me in the future and make me

lament my white hair” (Wang 229). Within one scene of Oriole and Student Zhang being intimate,

the power has shifted from Student Zhang initiating sexual and romantic contact to him being ‘in

debt’ to Oriole for her affection. In private quarters, the power dynamic of the relationship is

drastically different than when the pair is at the mercy of third-party influences (Madam Cui), as

Oriole finds herself having leverage in the form of sexuality.

However, through Crimson’s dialog, it becomes evident what tactics are used to convince

the pair to sleep together in the first place. She is entirely intentional in selecting her language to

manipulate Oriole as opposed to Student Zhang. In speaking to Oriole, it is apparent that Oriole is

experiencing an internal dilemma. She states “I’m burning with shame – how can I go?” in

reference to meeting with Student Zhang. Crimson responds “What’s there to be ashamed of?

Once there, just close your eyes.” (Wang 225) Crimson acknowledges that there is a connotation

between shame and sex for Oriole, and targets that obstacle in her ambitions . By this point,

Crimson has already promised Student Zhang that he will succeed with Oriole, and must convince

Oriole to oblige by all means necessary. Orioles perspective on premarital sex is not surprising,

considering her mother’s influence. After discovering the affair, Madam Cui confronts Crimson

and Oriole. Crimson, aware that shame is a vulnerable point of contention comforts Oriole; “What

is there to [be] ashamed of in front of your mother?” (Wang 236) and goes on to explain how, in

the heat of passion, Oriole felt no shame. Immediately, Madam Cui scolds the act, claiming that
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Orioles act was a betrayal to her, Oriole, and the family’s reputation. The passion that Oriole and

Student Zhang share is equalizing, yet it is treated as Oriole’s sin.

Student Zhang’s treatment by Madam Cui is significantly less severe than that of Oriole .

Oriole is reprimanded and single-handedly blamed for the affair. She is a disappointment as a

daughter for this betrayal, yet Student Zhang, who is equally as guilty, is given the task of taking

the capital examinations. He is rewarded politically for Oriole’s sin. He is given fruit, wine, and

accolades for traveling for the examinations by Madam Cui “You are a member of the family now

- Don’t keep such a distance! Today I give Oriole to you” (Wang 240) . The double standard

between how this society treats the sexuality of women as opposed to men is apparent in Madam

Cui’s handling of the situation. Who is to blame for the transgression is debated between Crimson

and Madam Cui in Volume IV Act II, and it is decided that Madam Cui herself is at fault; “What

this little hussy has said [that it is Madam Cui’s fault] is right. I ought not to have raised such a

good-for-nothing daughter” (Wang 236). Oriole’s very existence and identity, that crafted by

Madam Cui, is an abomination that is at risk of defiling the family’s reputation, whereas Student

Zhang is granted the opportunity to become a high-ranking official. What was initialized as an

equalizing act of passion quickly becomes politicized by Madam Cui and even (to a degree)

Student Zhang. He gladly takes advantage of the opportunity, “…if my name is not on the golden

plaque, I vow not to return!” (Wang 243) despite Oriole’s desperate pleas for him to return to her

regardless of the results.

Within The Peony Pavilion, the role and influence of sex evolves with Bridal Du. During

Bridal and Liu’s shared dream (Xianzu 42-53), the pair are almost hypnotized by the other’s
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beauty, and the intimacy is equally initiated by both parties. “Miss Du’s heart has been so deeply

moved by her spring strolling that she has summoned the graduate Liu into her dream.” Within the

dream itself, Liu initiates the physical intimacy, balancing out the power dynamic within the pair.

However, this is not the case during their affair following Bridal Du’s death and revival. Similar

to Student Zhang’s glorification of Oriole during their first night together, Liu immediately

attributes Bridal Du’s presence and beauty to be otherworldly. He associates her with “the

Weaving maid of the heavens…, her serving maid…pursued by Heaven’s officers on her earthly

escapade…, some mismatched mortal beauty ‘phoenix fated to follow crow’ …a heavenly sylph,

[and] breathtaking beauty, loveliest of mortals” (Xianzu 161-163). While Bridal does introduce

sex into the conversation, Liu’s response and promise to “[never] dismiss [Bridal] from [his] heart”

(Xianzu 164) is an eternal promise to stay loyal to Bridal, which she will eventually take advantage

of. Sex evolved from being a bridge and equalizer between the couple to a tool for Bridal to

confirm Liu’s affection, trust, and loyalty. Just as was present in The Story of the Western Wing,

the female protagonists have an advantage over their male counterparts while and as a result of

being intimate.

Bridal Du is able to use sex to read Liu’s trustworthiness via the request for him to complete

several tasks. Following their first night together, Bridal in completely in control of her situation,

leaving his chambers at daybreak, not revealing her name nor identity until she deems it necessary,

initially not revealing that she is a ghost, manipulating Liu into breaking into her own tomb to

unite her body and soul, and sending Liu to get the status of her family (especially her father). Liu

is at the mercy of a woman that has utilized sex make him subservient. He is literally tortured as a
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consequence of Bridal’s request to seek out Du Bao, and there is little to no acknowledgement or

appreciation of this sacrifice following the family’s reunion. Via the insistence of intimacy on their

first night, Bridal becomes a sort of puppet master of Liu within private settings, giving her the

freedom and access to hold influence in non-private settings through Liu’s actions.

Although the second phase of Bridal Du’s life is marked with confidence, sexual maturity,

and independence in contrast to before her death, there still exists the perception that female

sexuality is to be shamed. The two female characters that are discussed in the context of sex are

Sister Stone and Bridal Du, and by the end of the play both of these characters remain virginal.

Sister Stone lost her husband as a result of her hymen being ‘rock-hard’ and therefore unable to

enjoy sex or lose her virginity in the traditional sense of the word. Bridal Du, following reunion

of her body and soul, comments on how she is still a virgin as the couple were only intimate while

she possessed her ghostly form. In the play’s final moments, the validity of Bridal Du and Liu’s

marriage is taken under debate, reopening the issue of premarital sex from The Story of the Western

Wing that caused so much strife. Du Bao does not consider the marriage legitimate, and curses Liu

for “debauching [his] daughter’s memory” (Xianzu 331). Even when Bridal has been revived and

reunited with her dream lover and reconnected with her parents, the family is unable to achieve

peace at the fault of assumptions and disbelief about Bridal’s virtue and legitimacy. She is not able

to speak for herself in these moments, but must supply tangible evidence of her very existence and

witnesses to testify on her behalf. Even after proving that she is, in fact, human, there still exists

the risk of her father not accepting her under the premise that she has been corrupted.

In contrast to The Story of the Western Wing and The Peony Pavilion, The Peach Blossom

Fan takes a more metaphorical approach to chaining feminine power and sexuality. Fragrant
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Princess is unique to Oriole and Bridal Du in that her will is so strong that she takes on the persona

of the traditional male in the relationship. Oriole and Bridal Du’s arcs are dominated by their

attempts to form successful relationships in the eyes of society and family. Every decision they

make is with their male counterparts in mind, and the trope of unconditional love is used as the

backbone of most of the protagonists’ actions . Oriole is hesitant in starting a relationship with

Student Zhang, but ultimately decides that he is meant to be with her to the point of disobeying

her mother. While Bridal Du arguably manipulates Liu in her best interest, it is for the purpose of

confirming that Liu is a trustworthy and loyal companion. Both couples ultimately succumb to

‘true love,’ and are successful in their endeavors of marriage. However, in the case of Fragrant

Princess, there are several other influences that contribute to her motivations . Rather than falling

victim to the circumstances playing out around her as Oriole (in regards to her mother ending the

affair with a condition) and Bridal Du (in regards to her own death and the obstacles as a result),

Fragrant Princess makes it evident that she is aware and knowledgeable on matters outside of her

own situation, and that she is willing to compromise her own happiness and well-being with these

other factors under consideration. In this way, she is taking on a markedly more masculine role

within her and Hou’s relationship. In “The Rejected Trousseau,” Hou initially accepts the offer of

luxurious items from Yang, yet Fragrant Princess takes a stand that contradicts that of her partner:

“How can you make such promises so thoughtlessly? Though you wish to save that creature from

ruin, you must also bear in mind how others will judge yourself! Merely because he has done you

a personal favour, you forget the commonwealth. Can’t you see that I am indifferent to all this

finery?” (Shang-jen 60). In untraditional fashion, Hou allows Fragrant Princess to take the lead .
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Fragrant Princess is a paradox to the previous argument that sex can be utilized by women

to gain influence in public settings, in that she is able to participate in a consensual sexual

relationship with Hou and maintain an evenly balanced power dynamic in their relationship while

asserting authority outside of private settings. She has an aspect in common with Oriole and Bridal

Du in that she has a male counterpart that she considers to be her fated husband that she would do

anything for, however she stands out from the other female protagonists in that she takes an active

role in achieving her goals rather than a second-handed (Bridal Du) or passive (Oriole) role.

The epitome of Fragrant Princess actively taking a stand against the forces that are

attempting to oppress her takes place within “The Rejected Suit.” Fragrant Princess finds herself

cornered into marrying T’ien Yang, and is pressured by Yang and her mother to accept the offer

for her own physical safety. Her reaction represented another transition to traditionally masculine

roles; Fragrant Princess brandishes her fan as a weapon, ultimately sacrificing her own body for

the sake of her ‘battle’ and literally bloodying her ‘sword.’ Yang explicitly states “How fierce, she

uses her love-token as a murderous sword” (Shang-jen 165) as she proceeds to crash her head into

the ground and splatter blood onto her fan. The emblem of her femininity that attracted the

attention of her suitors (and is so vital to the infatuation depicted in The Story of the Western Wing

and The Peony Pavilion) - her aesthetic beauty - is damaged as a result of her hardened will.

Assuming the fan is a symbol of her will, the addition of the peach blossoms to the blood splatter

creates an image of Fragrant Princess that embodies both her masculinity (the blood as a result of

her ‘battle’ of wills) and her femininity (the peach blossoms) .

Fragrant Princess is the embodiment of a strong female protagonist in that she knows her

own motivations and biases, is willing to acknowledge outside and opposing factors that need to
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be considered in her actions, and is able to take an active role in what happens to her. She is aware

that she does not need to be a victim of circumstance or play the game from the wings, and is a

model to her male counterparts. However, the theory that the female protagonists are unable to

enact change without the utilization of sexuality remains intact, as Fragrant Princess is the only

one of the protagonists to be unsuccessful. Throughout The Peach Blossom Fan, Fragrant Princess

is admired for her candor, and her reunion with Hou leaves the fate of their relationship optimistic;

nonetheless, the couple is unable to achieve their ‘happy ending.’ “How laughable to cling to you

amorous desires when the world has been turned upside down!...Are you not ashamed to hear the

laughter your performance brings?” (Shang-jen 296-297); as seen within The Story of the Western

Wing and The Peony Pavilion, intimacy and marriage are placed in a shameful and disgraceful

context. The love that she fought so hard to hold on to is naught, and her efforts are erased . Just

as Oriole and Bridal Du did, Fragrant Princess succumbs to the overarching societal forces that are

fighting to keep her from her love.

While The Story of the Western Wing, The Peony Pavilion, and The Peach Blossom Fan

each have their own unique perceptions of female sexuality, virtue, and strength, there exists a

consistency between the female protagonists innermost motivations and ability to succeed based

on their sexuality. Sex is used as a device within The Story of the Western Wing for society

(personified by Madam Cui’s character) to publically shame female sexuality and for Oriole to

counterbalance this power discrepancy within her relationship with Student Zhang. Through The

Peony Pavilion, sexuality acts as both an equalizer and a tool for manipulation. Similar to what is

seen in The Story of the Western Wing, Bridal Du is able to acquire a power and functional role

that she would not have otherwise as a result of the sexual relationship that she initiates with Liu .
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The Peach Blossom Fan’s conclusion is an antithesis of the previous two depictions; it addresses

the unsuccessful consequences of when women take an active role in society rather than behind

closed doors as the other female protagonists have succeeded by doing . In the context of The Story

of the Western Wing, The Peony Pavilion, and The Peach Blossom Fan, women must make the

choice to either take a passive approach or be willing to manipulate men of influence via sexuality

in order to successfully achieve their goals.

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References

Shang-jen, K. (1976). The Peach Blossom Fan. Berkely, CA: University of California Press.

Tang, X. (2002). The Peony Pavilion: Mudan Ting. Indiana: Indiana University Press.

Wang, S., Idema, W. L., & West, S. H. (1995). The Story of the Western Wing. Berkeley:

University of California Press.