性別祈使句在紅樓夢：寶玉雙性戀作者（S）：路易斯·愛德華茲來源：中國文學散文，文章，評

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 性別祈使句在紅樓夢：寶玉雙性戀
路易斯·愛德華茲
格里菲斯大學
一，引言
縱觀幾十年致力於紅樓夢的研究，許多評論家和讀者已經認識到了小說的什麼安德魯Plaks基於互補雙極性已經稱為
分析的潛力“。他的結構主義方法已親vided為小說的大量卓有成效的討論的基礎。許多學者通過解釋文本作為代表寶玉的
生存困境是-吐溫的純真和經驗，青年及非青年，現實與烏托邦，現實主義和理想主義，道教/佛教和儒家的雙重世界增強
Plaks的學習。
在這裡，將嘗試通過引入新的實踐為紅學方法論性別anal- ysis.2希望，這種相對較新的文學工具將避免回歸表現寫實
analyses3以補充紅樓夢此結構主義獎學金這preceeded結構主義和後結構主義的到來。性別分析可以被描述為一個生產它
通過性別在紅樓夢的探索性解決意識形態的問題文本。本文將探討危機寶玉與性別迫切需要外加憑二進制陽剛/女性為主
題的範例圓了他，並揭示其中的文本加強了“女人味”和“陽剛之氣”的傳統觀念五花八門的方式總結
2.4“安德魯·H·普拉克斯，原型和寓言的紅樓之夢（普林斯頓：1976），頁43-53。 2The需要引入新的分析方法是通過胡曉指
出ill'i他從人民共和國近期紅學的總結。他說，經過新的1984年的研究是“安靜
”;：相比往年，部分原因是缺乏新的方法（i）。 “紅樓夢厭舊
棕樹”我，我E“;！IL，Zhongguo文學年鑑”。IL V $點亮，1985年（北京，1986年），第308
3Catherine Belsey已經呈現表現現實主義的徹底解釋的關鍵法，她將其描述為“常識”的態度來批評，其中文學仍被看作
是生活的反映和筆者的地方被認為是最重要的。“要理解文字來解釋它的作者的思路條款，心理狀態和社會背景。“有則很
少或沒有承認該文本是”意識形態話語或建造。“凱瑟琳·貝爾西，批評實踐（倫敦，1980年），第7-14。讀者會認識到這些特
徵在洪學，特別是與小說的作者和其自傳讀潛力痴迷
。4在章“互補雙極性和多週期”Plaks警告傾向，ov-二元對立的ersimplify列維-斯特勞斯的概念。他狀態s表示中國思想的
二元論不是“存在的所有階段的絕對歸類為兩個不同類的現象，甚至
沿著單一連續陰陽的兩個假設兩極之間範圍的相對分佈”。 Plaks，原型頁。 43.性別分析希望通過呈現二元恆定活力的辯
證過程，避免過於簡單化Plaks警告我們。
69
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70中國文學散文，文章，評論12（1990）
術語“性別”不是無償使用。而是它的適合性主要圍繞“性別”，從“性別”一詞的分化。安妮·奧克利時指出闡明了區別
，“性”是指男女之間的生物學差異一句話：生殖器
在明顯的差異，在生育功能相關的差異。 “性別”不過是文化的問題：它是指社會分類為“男性”和“女性”.5
因此，在討論性的思想，當我們在性別的境界，不是性，並正在談論所有的表意在他/她的社會發展通知的個人行為。
也就是說，究竟是社會結構，有意識和無意識，該項目中的個人融入男性或女性模式。術語“女人味”和“陽剛之氣”不會被
解釋為“真正的本質，生物或社會起源，但有在歷史上的有效功能強大的神話。”6
在本文中，我們將解構文本，在德里達的意義，探索第一寶玉的性別危機的男性，並且取得了寶玉所以在社會上，女性
的動盪合併偏心其次在許多方面的文本已經同時加強陽剛的傳統分層二進制過的女人味。
理論
背景的文學，其創立本身的陽剛/女性二元研究的方法，已經得到了最充分通過法國女權主義理論家Heline西蘇，盧斯
伊利格瑞和Julia Kristeva.7的方法編制通過後Sassaurean的複雜的複合語言學，心理分析，後結構主義文學理論和哲學，這
些理論家曾試圖調查“陽剛之氣”和“女人味”的社會建設。他們從概念的工作，“西氣東輸ERN思想，文字的標誌，一直建立
在這樣的文化決定的對立為理性和emo-族體，活動和被動，有無之間的二進制二分法的結構， 。總之，“男性”和“女性”“8
這種二分法是由黑格爾在他的講座解釋對哲學史作為一組畢達哥拉斯對立面：限制和無窮，團結和多樣性，男性和女性，
光明與黑暗，好evil.9愛蓮·西蘇闡述
。符號系統，一切全聚集，也就是說，這是說，
這是組織為話語，藝術，宗教，家庭，語言，一切一切
5Anne奧克利，性別，社會性別與社會（墨爾本，1972年），第。 16.
6Christiane睿Makward，將“La批判Feministe，元素D'UNE人問題，”科學雜誌Humaines 168（1977）：624中米亨·莫里斯引，
“當前法國文學批評的方面，”赫卡特5.2（1979）：64
。7Anne瓊斯注意到，其他女性主義者如莫妮克維蒂希拒絕這個二進制的方法。維蒂希聲明，分析了基於男性/女性二元
已經固有的缺點，因為他們仍然需要男性的幻想作為參考中心點。在蓋爾Greene和Coppilia卡恩編：安妮·羅莎琳德·瓊斯
“的女性的法國理論，刻寫女人味”。製作一個差異：女性主義文學批評（倫敦，1986），頁。 90.
8Domna C.斯坦頓，“語言與革命：在法國和美國的派息-連接”，在海絲特Eisentein和Alice怡和編。差異的未來（波士頓，
1980），頁。 73.
9G.WF黑格爾，哲學上，卷的歷史講座。 1，跨。 ES霍爾丹（倫敦，1955年），第215-1 16.
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EDWARDS性別在紅樓夢祈
71抓住我們，作用於一切美這一切都是圍繞著回來的男人/女人反對分層對立面位數排序。 ... 10
性別分析，然後，顛覆一個無性的，公正的文學文本的概念，並試圖探討文本生產男性和女性，其性意識的。有觀點認
為，無性文本的存在是不可能的在於直接的對比表現現實主義的批評已經減少，而且在許多情況下，試圖忽視的作用意識
形態文學批評起堅持認為“純”文學理論是審美，而不是政治結構。“[1]然而，分析像這樣的，其目的是探索社會生產陽剛
與陰柔的，可以直接連接到什麼皮爾·馬雷也被稱為”文字的無意識“ -什麼是在沉默沒有體現口語和空白，其ideology.12
不僅法國女權主義批評者認為，所有文字都從根本上“性”，他們還認為，由男性和女性的包容態度和質量之間的關係
二分法是分層的。二進制OP-位置具有價值，一個原則設定在其他-事實上，男性超過
女性。因此，分析的方法開發出對付女性的赤貧規格- ificity;即是，女人的“負面”，從男性人員的標準差
共同選擇。當涉及到告知個人的性心理發育的符號化的做法很顯然，陽剛已經通過自我和人性和女性的已經投他的其他
位置，因為“這不是一個性別。”“13克里斯蒂安Makward闡述通過描述女人味的“先驗SIG-nifier”作為“'是-這-一個必把休耕'
，以便確定自己在mas- culine。”14
西蘇和克里斯蒂娃提出，有任何個體中存在的男性和女性原則之間的平衡的潛力。存在，那麼，對於解構的剛性分類
勢自/等，男性化/女性一人之內，而不僅僅是人們有效地爆炸性別差異的剛性性別化之間。通過解釋，而不是之間通過西
蘇已經被描述為一個隱喻雙性戀-A“同時非層次女性的存在和男性化，自我和其他”。差'5克里斯特瓦已探討這一概念兩性
體中本次搜索的差如何性別差異是dialecticization的過程。 “所有的口語科目有內自己一定雙性戀這恰恰是探索意義的所
有來源的方法可行，那它指的意思，以及因為這其中的乘法，粉碎（破陣）終於甦醒了。”16在她的散文“的美杜莎的笑聲“西
蘇描述她的雙性戀的概念
1oHe〜LNE西蘇，”閹割或斬首？“反式。安妮特·庫恩，體徵：婦女雜誌在文化與社會
7.1（1981）：44。“對於文學與意識形態之間的關係的一個簡短的討論，請參見伊格爾頓，”文學與政治現在，“關鍵季度
20.3（1978）： 65-69或AP福克斯，文學與宣傳（倫敦，1983），頁
1-18。12Pierre馬歇雷，文學生產的理論，跨。杰弗裡·沃爾（倫敦，1978年），第85-86頁。“3本短語是普遍接受的翻譯伊利格
瑞本書的書名。盧斯伊麗加萊，CE sexe魁n'en EST PAS UN（巴黎，1977年
）。14Makward，“香格里拉批判Feministe”，第624 15Cixous，“閹割或斬首？ “第，。”
54-55'6Julia克里斯蒂娃振盪功率和拒絕之間，“反式瑪麗蓮A. 8月，伊萊恩商標和伊莎貝爾德庫爾蒂夫龍，編新法國女性
主義：。文選（阿默斯特，1980），頁。 165.
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72中國文學散文，A藝品，評論12（1990）
的“nonexclusion任一的差的或一種性別的”，並相區別
從“兩性體的經典概念。”“17西蘇描述的經典的雙性作為性的均勻性，其僅僅露出的陽恐懼通過允許他幻想走性
difference.1s雖然法國女性主義批評家都在西方哲學傳統中工作，其他的方法也有直接的關係，以東方表意practices.19雖
然二元對立的西方名單可以追溯到亞里士多德和畢達哥拉斯其中，“它設置對女性的男性，右對左，反對邪惡的好，”20東
方二進制可以追溯到古代的陰/陽的理念，從而男性和女性的對應於正/負，主動/被動，強/弱，建設性/ destructive.21遠不是
別人的千變萬化中一個微不足道的哲學學派，陰陽學說已通知中國的方方面面標誌著話語，包括紅樓夢。小說中的主角賈
寶玉的描寫揭示了陰陽之間的相互作用最清楚。作為一個性男他的性格寫對性行為的女性，而且寶玉的性別偏好，這使他
如此多的爭議他的人格的那些方面，是男性和女性，殷普遍持有的觀念文本的調用的一部分，陽氣。
在西方勾股定理對立與陰陽對立面之間最重要的區別是由費俠莉對明清中國性異常的工作照。不同的是不可改變的
西方二元，陰陽被per-可察覺作為具有在人體內不斷變化和相互作用的潛在力量。她解釋說，“根據陰陽的力量的相互作
用中國宇宙觀做性別差異在自然哲學相對靈活的兩極。”22人的身體被視為另一個網站，不斷的宇宙爭奪戰部隊之間的支
配地位陰陽的發生。在個人與兩性畸形的物理性變化，從而在所有陰陽的這種不斷的動態交互的角度來解釋。對於道教性
別的性別界限的追隨者們也很靈活。道士常用性別反轉（通常女性化的男性）的符號來表示拒絕的灰塵和世俗的情慾世
界。 “內丹”的技術被用來使genitals.23的萎縮。然而，在建立individ-的靈活性
7Helene西蘇，“美杜莎的笑，”反式。基思·科恩和保拉·科恩，在商標和德庫爾蒂夫龍，編。法國新女性主義，P。
254.'8Toril莫伊，性/文本政治（倫敦，1985），第108-09。
那面對這樣的跨文化研究的作家（白色西方人看中國的小說）最大的哲學問題-9-酮是ethnocentricism的;自我/其他西方
變為/東方。雖然激進的思想家，如克里斯蒂娃和羅蘭·巴特已經寫在亞洲，我希望避免產生的
兩人都在“理解”外國文化的嘗試所誤差;理想化確實原諒的理由文化特質，“他們”是不同的。這相當於不超過生產的的越
來越
“其他”神聖鞏固亞洲作為東負西位置。通過運用西方文藝理論，以性別為基礎的中國小說，本文希望避免種族主義的假設
，揭示了剛性性別必要性，因為他們出現。見克里斯蒂娃，中國女足，跨。梅艷芳巴羅斯，（倫敦，1974年）和羅蘭·巴特，聲
音的糧食，跨。琳達·卡沃德（紐約，1985），頁。113-27。
20K.K.魯斯溫，女性主義文學研究（劍橋，1983），頁。 42. 21'Wing-捷燦，源圖書在中國哲學（普林斯頓，1963），頁。 244.
22Charlotte弗思，“雌雄同體男性和女性虧：在Sixteenth-和十七世紀中國生物學和性別的界限，”帝國晚期的中國9.2（月，
1988年）：1.
23Roger埃姆斯解釋道教雌雄同體的概念，“自然道追求平衡，
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在紅樓夢73EDWARDS性別祈使句
UAL的肉體性慾的陰/陽相互關聯的觀念暗示沒有nec- essarily意味著性別結構的靈活性。相反，“儒CON組structed性別各
地嚴格的等級親屬關係的作用
。”24在這些哲學顯示性別意義的系統差異學校支持其周圍寶玉儒道/佛的世界之間的選擇構建紅樓夢的分析。然而，
陰陽的作為新型提出的對偶也提供機會借鑒隱喻雙性戀法國女權主義觀念和文本的生產陽剛與陰柔。紅樓夢的核心主角
，賈寶玉，通過隱喻bisexuality.25的人為ifestation成為男性和女性的性別規定之間的衝突現場
正是在這裡，我們就來對核心問題。在寶玉的性格，隱喻雙性戀被放大，導致他與尋求兩性之間分配男性和女性的社
會衝突。剛性性別處方儒家prin- ciples之間的衝突，有形性和道家收養女性魅力的排斥激情的陰陽哲學的靈活性，在寶玉
的性格發揮出來。文字巧妙地揭示了歧義和性別意識形態的複雜性和揭示了性別如何迫切需要扼殺性行為的多重性探
索。
II。寶玉雙性戀
一個偉大的和弦新穎如紅樓夢拒絕一個單一的，權威均值ING並且容易適合於多個讀數，包括一個根據男性和女性的
表意contructs的辯證過程。事實上，文本已經向我們提出了許多線索的採用性別分析。
最有啟發性的，這些是在年幼的孩子呈現的女性和那些男性化的對象之間進行選擇寶玉的第一個生日的冷資興市的
描述。 “當他們慶祝的前十二個月，先生
鄭通過把大量的對象在他的面前，看到他將採取的保持測試了他的性格，他伸出小手，並開始與一些女人的東西，梳子打
，手鐲，胭脂的盆之類，完全無視所有其他對象“。賈政被說成是很不忿，“為孩子從那以後，他並沒有感到太多的感情。”26
的基本心理創傷寶玉
哪裡這個平衡被打破，它的作用是恢復平衡。同樣，作為一種補償措施以響應和糾正的'男性'態度佔優勢時，老子提倡從
延伸'男性'接受'女性'的品質作為不平衡。適當的解毒劑“安樂哲，”道家與雌雄同體理想，“歷史反思8.3（秋季1981）：32
24Furth，”雌雄同體的男性和女性虧，“p 1
25Han匯強已為走得更遠，說寶玉是一個中性或性冷淡性格韓匯強; T'\“紅樓夢中的興濟guannian文華依依我〜P）我.IJ？
一世。 Q，“京大雪山yanjiusheng xuekan
1（1988）：。。82.26Cao學勤，四通第1卷的故事，第2章，反式霍克斯，（哈蒙茲沃斯，1973），第76 HLM第1卷，第2章第，第
19小說五卷由霍克斯和閔福德，石頭的故事，5體積來自翻譯的所有摘錄。（哈蒙茲沃斯，1973年至1986年），我也跟著
他們走在角色的名字翻譯。比如黛玉依然黛玉而晴雯FF。被翻譯為Skybright。我已經，然而，作為它的使用是不是漢語拼
音習慣去除音節之間的連字符的自由。例如寶瑜成為寶玉。對於120章版本我已經使用了曹雪芹和高鶚，紅樓夢，4卷，中
國文字。（北京，1973）。對中國文字的引用沿襲翻譯文本。
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74中國文學：散文，文章，評論12（1990年）
面臨明顯呈現給所有對他的第一個生日;他被迫認同無論是男性或女性自己的“解散位置”，從而被剝奪了性的辯證中的兩
性和諧的可能性。
寶玉的“糊塗”性別偏好持續從文本中出現。從我們看到寶玉是相當一個特殊的小男孩最早的描述;溫柔，漂亮，體貼與
詩歌的熱愛。您散結在第二章描述66仍然是最有啟發我們的分析
，“我想你可以打電話給他柔弱。他無論是吃或交談或走動，
肯定是有東西，而少女對他的態度，這源於近支出他在婦女與周圍沒有人宿舍所有的時間。“”“”27
他似乎體現許多與他的社會的女性相關的品質。楊帆最近寶玉的分析，指出這種柔弱，問道：“難道我們對待他作為一
個男孩還是女孩？“”28寶玉還透露，他完全有能力並願意履行通常保留給婦女。他洗他的女僕的服裝化妝和慾望的複雜
成分的知識被認為是家務是相當古怪，不良品質的年輕gentleman.29在幾個章節寶玉是他的女伴吃自己的妝容諫，通過甩
正確的社會行為和eatin的做法摹化妝寶玉mas- culinity的接口上的性別界限的符號爆炸與女性有形的水平。
事實上，寶玉經常說，如果他應該已經出生一個女孩。在第三章43寶玉最接近的頁面茶葉要求在禱告的精神，確保“主
保在他下輩子投胎作為一個女孩。”30再次在第一章的時候賈母試圖了解寶玉的不尋常的性別偏好七八她won-貸方
，“也許他是一個女僕自己在一些過去的生活。也許他應該是個女孩。”31
在悲嘆自己缺乏機會參觀秦鐘的墳墓寶玉描述了他是如何無力離開“內豪宅“freely.32上的移動。這類型的限制通常與
貴族家庭的年輕女性，而不是年輕男子有關。寶玉在這件事上的無力感特別女性化。
如果寶玉的性格揭示了許多由女性所包含的特質，然後薛蟠提供了一個極好箔作為男性的極端主義。寶玉和薛蟠形成
的社會關係的性質之間的反差，使這兩個男性角色的不同性別的預測有明顯的區別。當寶玉被吸引到使在氏族校，他被吸
引到他們的優雅和溫柔等女性化的男性朋友。放蕩薛蟠，但是，對於他們作為他的“bumcake”，並小心翼翼地保衛他們免
受天敵。寶玉的
27Cao，石卷的故事。 3，第三章。 66，第294. HLM卷。 3，第三章。 66，第850-51。霍克斯翻譯了尼爾齊為K（“女性化”和
“少女時代
”。28Fan楊Y'f？Yanggang德慧忱FLI J''我（北京，1988年），第72-73頁。29Cao，的故事石，第2卷，第一章44，第376-77。
HLM第2卷，第一章44，第539-40。30Cao，四通的故事，第2卷，第一章43，第359頁。HLM第2卷，第一章43，第530 3'Cao，
四通的故事，第3卷，第一章78，第556 HLM第3卷，第一章78頁。1010 32Cao ，四通的第2卷的故事，CHAP。47，第439
HLM第2卷，第一章47頁。579.
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愛德華茲紅樓夢性別祈使句
75，秦鐘友誼在學校的嘲笑，並在與類兩個同性戀的男女友誼的後續嘗試，綽號“親愛的“（香菱）和”寶貝“（Yu'ai），結果在
課堂嫉妒;
角力兩個新的男孩秦鐘和寶玉，都是一樣美麗鮮花其他
schola RS觀察如何收縮和溫柔秦鐘是，紅著臉你對他說話和膽怯和害羞的女孩之前差不多;他們在寶玉一個人看到自然和
習慣作出了謙虛和包容，儘管他的社會地位，總是願意推遲到他人和諧的利益;他們觀察到他的深情氣質，講話熟悉的方
式;他們可以看到的兩個朋友專門給對方。也許這是不被在這些意見應已引起某些懷疑這些illbred人的心中納悶了，在學
校和在它外面都認為各種醜陋的謠言應該在其背後backs.33流傳已
在所有的友誼寶玉與他的年輕的同行形成的中心位於一個相互“女人味”。
平良燦透露這在他的文章“神話與普賽克紅紅樓夢”時，他說，
他的超我[寶玉]也被秦頌[秦鐘]，劉湘留置權表示
[柳湘蓮]，和北寧靜的王子[北京的王子。在這三個人和賈寶玉[寶玉]也有一個共同的特點。這是他們的女人味。這當然是
寶德yfi的良好友誼和他們的基礎。
此外，所有三個角色有什麼陳所說的“隱性”homosexuality.34更準確的形容這是“經典雙性戀”它暗示或明確表示，這些字
符與女人的關係也是如此。由字符，如薛盤表示的陰莖單性戀的產物，是女性-其他的描繪男性化自治的性慾的對象。拉康
，其影響力在法國女性主義理論家的undis- puted，已經發展了他的精神分析理論，圍繞著自我的性desires.35觀念的
Gelfand和Hules闡明他的自我/其他和慾望的想法說，自我是一個“功能36的其他的慾望和確認，但最重要的是，其他和願
望是性感化“。由男性的fem- inine的這一願望性愛整個紅樓夢是顯而易見的，並揭示哪個性愛慾望思;之間的任何相互作
用的程度男性和
33Cao，石，卷的故事。 1，第一章9，第206-7。 HLM卷。 1，第一章9，P。 109. 34Ping良陳，“神話和琪紅-紅樓夢，”在
Winston LY羊和Curtis P.阿德金斯編對中國小說的批判文章（香港，1980），頁。 169.從人民共和國最近的文章都帶來了寶
玉的問題“同性戀”;但它是在同性戀色調經常討論。同性戀被認為是一個“問題”，為貴族階級的封建時代和象徵性的統治
階級的腐朽和沒落迫在眉睫的。馬琴的文章是代表這種感情的。
馬秦'1％>“同興聯賈包虞tuifei星閣德明正，”裡噸- I'我KR]，T J VXinjiang石帆大雪山學寶RR樓;〜（？她磕禁止BTV）2（
1984） ：56-57。
35See拉康，Ecrits：一個選區，反式。艾倫·謝裡登（倫敦，1980年）。拉康有益的討論
對法國女性主義影響，可以在朱麗葉·米切爾和杰奎琳·羅斯，EDS被發現。女性性慾：拉康和ccole freudienne（倫敦，1982
年）和埃莉拉格蘭德沙利文，“拉康：女性主義和性別認同的問題，”物質11.3（1982）：6-20。
36Elissa D.蓋爾芬德和弗吉尼亞桑代克Hules，法國女性主義批評：婦女，語言和文化;一個附帶說明的書目（紐約，1985），
頁。二十二。
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76中國文學散文，文章，評論12（1990年）
的女性。對於男性角色與女性的唯一可能的聯繫是通過男性的慾望的性滿足。事實上，賈政的和薛蟠對寶玉的個性陰柔的
部分反應是基於這樣的假設，他必須完全投入到肉體的快樂為放蕩。例如，冷資興市講述如何寶玉使得“錯誤”的選擇在他
的第一個生日後，他的父親宣布，他將成長為一個耙子，冷同意說，“當他長大，他會是個色狼沒有這一點。問題
“”“37章33寶玉從他的父親收到跳動通過自我證實了這一概念的其他的性化慾望的適用性。寶玉被賦予從女性模仿珠
寶一條腰帶（江遇寒的藝名）作為友誼的象徵。兩人都是很高興見到另一個具有同樣溫柔的藝術秉性。後來當江丟失，他的
情人強大的王子發出其通過後者的藏暨暗示寶玉的探寶- merbund寶玉然後由賈政為他承擔著與江同性戀關係毆打這是
不是同性戀關係，他的父親會反對而是江“屬於”以喜別人的事實。 gher社會地位。同性戀關係預期的，因為藝術家和演員
屬於女性的，“其他”世界，可以從monosexual男性化角色的角度來設想的兩個世界之間的相互作用僅是性。
當寶玉說，他的告別到Skybright是誰在她臨終前寶玉對自我與他人註冊地的困惑是第77明顯。雖然暴露自己的情分深
度通過卹，Sky-明亮的好色妹妹女婿回報的交流，並假設她剛剛趕上他們在性幽會的過程中。姐姐女婿然後繼續勾引寶玉
誰是侵略留下完全解除武裝。
這被外界寶玉的經驗東西完全。他的心臟開始怦怦直跳似地，他的臉一下子滿臉通紅，他的整個身體開始顫抖。 It would
have been hard to say what feeling was at that moment uppermost in his mind: embarrassment, shame, fear, or annoyance.
The aggressor's reaction to his rejection was one of total disbelief. "Get away with you! From what I've been told, you've had
plenty of practice with other girls."38 She expected Baoyu's reaction to reflect the phallic monosexuality projected on to males by
the dominant mode of gender construction. In actuality, Baoyu was placed in the reverse role by her aggression-that of sexualised
Other rather than the desiring Self.
It is rather unclear from the novel exactly how much "practise" Baoyu has had. His early experience with Aroma is the one
explicitly mentioned case although the text
hints at several other opportunities. It is far from accidental that an otherwise sexually/ morally explicit book should not dwell on
Baoyu's sexual encounters with his maids. Instead emphasis has been placed on Baoyu's kind and respectful treatment of women.
It is they who desire him, albeit less aggressively than a male character would-like the young maid Fivey (Wu'er) who eagerly
seeks a much coveted place in his apart- ments. The text clearly challenges orthodox notions of sexual morality by playing on
homophones for the yu V in Baoyu's name-(jade, desire, lust)-by creating a character
37Cao, The Story of the Stone, Vol. 1, Chap. 2, p. 76. HLM Vol. 1, Chap. 2, p. 19. 38Cao, The Story of the Stone, Vol. 3, Chap.
77, p. 546. HLM Vol. 3, Chap. 77, p. 1003.
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EDWARDS Gender Imperatives in Honglou meng 77
whose desire is portrayed so differently from the majority of other men in the text.39 Unlike Xue Pan, Jia Baoyu subsumes both
the masculine and feminine-he is at once an active and desiring male and a passive object of desire. Importantly he is not the
object of masculine desire. Unlike other "effeminate" characters, Baoyu is not sought out by Xue Pan and his lecherous friends.
His social position as a young gentleman ensures that the sexual power he loses through the adoption of feminine traits is
balanced by a general political power.
In their work on Honglou meng L. and V. Sychov have revealed the importance of descriptions of clothing to the novel.40
While their data, as they have accurately doc- umented, does help reveal Cao's superior literary talent when compared to that of
Gao E, it can also help deconstruct Honglou meng's gender ideology and describe Baoyu's ambiguous place on the gender
register. It is not insignificant that among all the lengthy descriptions of costume in the novel the only men who are "objectified"
in this way are these aforementioned effeminate male characters-Baoyu, Qin Zhong, Jiang Yuhan and Liu Xianglian. Part of being
feminine is being appreciated aesthetically.41 In the text's descriptions of these particular men's clothing it clearly allocates to
them the status of feminine-Object. These men, like the women (particularly the young un- married girls) then become the
passive objects of Self's active desire through the intricate detailing of their costumes. In Chapter fifty a description of costumes
leads Grand- mother Jia to participate in the textual intertwining of the gender/sex registers. Here Grandmother Jia looks at a
figure dressed in a red-felt snow cape and asks "Which one of the girls is that?" Those around her laughingly reply, "There aren't
any more girls; we're all here. That's Baoyu."42
Cao's portrayal of Baoyu's intellectual preferences reveal again the problem Baoyu had in adjusting to the masculine roles it
was assumed he should have. His paradox can be represented in the binary creative-feminine-Other/career-masculine-Self. As the
eldest surviving son Baoyu is expected to maintain the family's position in the Imperial bureaucracy, taking the career path
through years of study of the Confucian classics and culminating in the national exam for the selection of public servants. Instead,
however, Baoyu prefers the more creative, poetic mode to the masculine career path. While every man must also have creative
skills, particularly the ability to compose poetry, to function at a high level in the world of man, they are secondary in importance
to the literary aptitude needed to write the eight-legged essay required in the Imperial exam. Baoyu, then, fails "to put aside" the
feminine when required.
Jia Zheng's relationship with Baoyu has been one of strained tolerance as he tries to encourage Baoyu to have an interest in
the scholarly Confucian world of bureaucratic success. This conflict is exposed in both Chapter nine and Chapter seventeen. On
Baoyu's first day at the clan school Jia Zheng warns his pages,
"If he read thirty books of the Poetry Classic," said Jia Zheng, "it would still be tomfool-
ery".... Give my compliments to the Headmaster and tell him from me that I want
39For a discussion of textual complexities in the use of lust and desire in the novel see Hsien-hao Liao, "Tai-yi or Pao-ch'ai: The
Paradox of Existence as Mainfested in Pao-yii's Existential Struggle," Tamkang Review 15. 1,2,3,4 (Autumn 1984-Summer
1985): 485-94.
40L. and V. Sychov, "The Role of Costume in Cao Xue-qin's novel The Dream of the Red Chamber," trans. Cecelia Shickman,
Tamkang Review 11.3 (Spring, 1981) : 287-305.
41Rosalind Coward, Female Desire: Women's Sexuality Today (London, 1984), p. 229. 42Cao, The Story of the Stone, Vol. 2,
Chap. 50, p. 505. HLM Vol. 2, Chap. 50, p. 622.
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78 Chinese Literature: Essays, Articles, Reviews 12 (1990)
none of this trifling with the Poetry Classic or any other ancient literature. It is of the utmost importance that he should thoroughly
understand and learn by heart the whole Four Books before he attempts anything else.43
Later on, prompted by "a favourable report on Baoyu from his teacher Jia Dairu in which mention had been made of his skill
in composing couplets" Jia Zheng asks Baoyu to name the various locations in the newly completed Grand View Garden.
"Although the boy had shown no aptitude for serious study, Dairu had said, he nevertheless possessed a certain meretricious
talent for versification not undeserving of commend- ation."44 In the ensuing inquisition Baoyu is shown to be quite superior in
this non- serious skill to both his father and the literary gentlemen who accompany them. How- ever, Baoyu's poetic talent is of
little consolation to Jia Zheng who primarily demands masculine scholarly skills from his heir.
III。 Phallogocentricism Reinforced
In this section it will become clear how despite Baoyu's bisexual tendencies and the text's questioning of gender imperatives,
the overall tenor of the work reinforces the traditional phallogocentric binary where the masculine-Self projects "otherness" onto
the feminine.45 The most important way that the rigid gender-sex typing is re- confirmed is in the fact that the dialecticisation of
sexual difference occurs in males-
Baoyu, and his "effeminate" acquaintances Qin Zhong, and Liu Xianglian.46
This phallocentric view valorizes the male character as the active One. The impli- cation is that men are capable of
experiencing the struggle with the feminine inside themselves while women, who have a monosexual femininity projected upon
them, exist merely as passive objects that reflect a "male" struggle, and a "male" experience of life. Such univocal bisexuality
merely presents man's fears of the Other by denying difference in a search for sameness: this classic bisexuality is nothing more
than a phallic monosexuality.
The concentration on male bisexuality implicitly denies the existence of females' potential for bisexuality, or any form of
active-and not simply responsive-sexuality by its silence on the issue. This effectively annuls sexual difference rather than ex-
panding it. The manner in which both the Confucian and Daoist systems of gender signification are invoked within the character
of Baoyu render the feminine subordinate and passive. Within the Daoist frame Baoyu's femininity is part of his path to a sin-
gularly male religious enlightenment. The feminine is adopted to balance the masculine. Thus it is within the masculine that the
experience of "balancing" occurs. Alternatively, Jia Zheng's Confucian ideology regarded men who take on feminine traits as
libertines-
capable of extremes in an active sexuality. Charlotte Furth discusses the case of a young man who dressed himself as a woman
and became a teacher of needlework to young
43Cao, The Story of the Stone, Vol. 1, Chap. 9, p. 204. HLM Vol. 1, Chap. 9, p. 107. 4Cao, The Story of the Stone, Vol. 1, Chap.
17, p. 326. HLM Vol. 1, Chap. 17, p. 186. 45The term "phallogocentrism" is a Derridean neologism which describes "the double
philosophical and Freudian paradigm that posits the male and his sexuality as the norm and the female and her sexuality as a
variation." Gelfand and Hules, French Feminist Criticism, p. xxi. For a more detailed discussion of the place of women in
Honglou meng see my article "Women in Honglou meng-Prescriptions of Purity in the Femininity of Qing Dynasty China,"
Modern China (October, 1990).
46Apart from the hint at a nonsexual lesbian relationship between the male impersonator and her opposite in the troop of
actresses, the novel only portrays male bisexuality.
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EDWARDS Gender Imperatives in Honglou meng 79
girls.47 When his disguise was discovered it was claimed that he adopted the feminine mode so as to debauch the girls he had
lived so intimately with. Scholarly debate on the issue credited the impersonator with "a life of undreamed of amorous exploits"
just as is assumed with Baoyu. In both the Daoist and Confucian world view portrayed in Honglou meng males who adopt the
feminine are thereby achieving male ends-one the rejection of passion and the other seeking extremes of passion. Both confirm
the position of active-Self as masculine and relegate the feminine to the desired/rejected Other.
The role given to women in the novel is, then, subsidiary. Even though Angela Jung Palandri declares that Honglou meng is
"fundamentally a novel about women," she more accurately relates the position of women to an analogy of a necklace where
Baoyu is the string and the individual female characters are the pearls.48 The audience reads mostly of the life in the "World of
Girls""'49 but in actual fact the novel is "fun- damentally" about Baoyu's struggle and the women exist only in so far as they help
further project this singularly male struggle.
Thus, Daiyu and Baochai are valorized primarily for their potential to reflect Baoyu's problems with, among other issues, the
signification of gender in Chinese society. In their tumultuous relationships with Baoyu, Daiyu invokes the feminine values and
Baochai the masculine. So, while the text creates a male protagonist that holds the dilemma of the choice forced upon him
between masculine and feminine social con- structs, his two female protagonists are relegated to the margins as mirrors of his
male choice. Josette F&ral has described this phenonmenon as,
... .a woman does not become the Other but his other, his Unconscious, his repressed,
and she gets caught in the endless and enduring circle of his representation. Enmeshed in man's self-representation, woman exists
only insofar as she endlessly reflects back to him the image of his manly reality.5o
So while Yu Pingbo ~ii f and Li Xifan can disagree about exactly what Daiyu and Baochai represent, for the former the two types
of beauty and for the latter the two
forces of a historical struggle,51 their "otherness" is the base of the novel in its portrayal of Baoyu's existential struggle.
As is revealed by his visit to the Land of Illusion, Baoyu admires and indeed desires both women. In this dream fantasy
Baoyu is given the fairy Combined Beauty f - for his lover, and it is revealed that "Her rose-fresh beauty reminded him strongly
of Baochai, but there was also something about her of Daiyu's delicate charm."52 Com-
47Furth, "Androgynous Males and Deficient Females," pp. 22-23. 48Angela Jung Palandri, "Women in Dream of the Red
Chamber," Literature East and West 12. 2,3,4 (1968): 227.
49Grand View Garden is often referred to as a "Kingdom of Girls" or a "World of Girls". See for example Jiang Wenqin VE, "
'Niier shijie' de liang ge cengci-lun Daguanyuan yu Taihuanjing ik aa fl- 11 J a - )R r~ I t ," Wenzhou shizhuan xuebao iAi T l 9 1
(1985): 15-24.
In Jiang's article the concept of a Girl's World is extended to the mythic level by incorporating the Land of Illusion.
50Josette F&ral,"The Powers of Difference," in Eisentein and Jardine, eds. The Future of Difference, p. 89.
51Lan Ling -1 and Li Xifan @ ~ ," Honglou meng zhong liang ge duili de dianxing-Lin Daiyu he Xue Baochai" Ig1 ~p N as I ~
ffl A - [ ~, in "Honglou meng" pinglun ji IM + (Beijing, 1957), pp.184-193.
5Cao, The Story of the Stone, Vol. 1, Chap. 5, p. 145. HLM Vol. 1, Chap. 5, p. 64.
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80 Chinese Literature: Essays, Articles, Reviews 12 (1990)
bined Beauty initiates Baoyu in the art of sex, gratifying his subconcious desires for both women53 while simultaneously
reinforcing each women's role as representing one half of Baoyu's personality crisis.
Baoyu's dilemma between the masculine career aspirations and his own creative preferences are reflected in the personalities
of the two women. Daiyu, it appears, never encouraged the career path, remaining firmly with the feminine world of creativity as
shown by her "deep love for poetry, drama, music"54 and her singular support of his rejection of the career path.
The exception was Daiyu, who, ever since they were little children together, had never once spoken to him about the need to "get
on in the world" or "make a name for oneself." This was one of the reasons why he so much respected her.55
This difference in the two girls' attitudes is well recognized by most Hongxue schol- ars. In 1986 the Chinese critic Zhou
Yibin concluded that unlike Daiyu, "Baochai did not regard poetry as a serious matter." Instead Baochai reflected the view of the
Ming official Yang Shiqi 4 t: A who held the opinion that poetry writing was a minor skill and more time should be spent on the
classics.56
Character descriptions will elucidate further the idea that each woman holds the essential elements of Baoyu's choice. Where
Baochai is renowned for her commonsense and rationality, Daiyu is emotional and sentimental. Daiyu's overly sensitive nature
has given her a reputation for being "petty"57 while Baochai's coolness often invites critics to call her "feelingless."58 Baochai
maintains a pragmatic attitude to the world while Daiyu shows no ability to turn her hand to practical affairs. Baochai enjoys
good health while Daiyu's sickly constitution has become one of her most well known traits. Clearly we see the binaries
appearing: strength/weakness, practical/frivolous, rational/ emotional, career/creative, masculine/feminine.
When the Other is no longer required to represent Baoyu's dilemma, it ceases to exist. Once he is tricked into marrying
Baochai, the link with the feminine that was the essence of his relationship with Daiyu is destroyed, and so Daiyu dies a tragic,
lonely death-no longer a relevant choice for the Self. Daiyu withers just as Samuel Richardson's Clarissa Harlowe fades away
after her rape-neither woman committing suicide for that would be "far too robust an action"59 for a mere "reflection." Once
again, when Baoyu chooses to deny the world of masculine Confucian convention altogether by becoming a monk, Baochai is left
behind as a virtual widow. Thus the central female characters are present only insofar as they are useful to reflect Baoyu's
dilemma. In the last instance the abjection of the feminine-Other by the masculine- Self is confirmed by the novel's unspoken
sexual ideology. Baoyu's ultimate decision
53Xu Decheng,' i: ' k, Tian Yuheng LB t ilj, "Qin Keqing yu Qin Zhong f 4 ~ ," Honglou meng xuekan 1 (1985): 154.
54Anthony C. Yu, "Self and the Family in the Hung-lou Meng: A New Look at Lin Tai-yii as Tragic Heroine," Chinese
Literature, Essays, Articles and Reviews 2.2 (July, 1980): 208.
55Cao, The Story of the Stone, Vol. 2, Chap. 36, p. 195. HLM Vol. 2, Chap. 36, p. 428. S6Zhou Yibin W,1d iF , "Lun Daiyu
Baochai de shixue guandian yu Ming Qing shige liupai de guanxi",
SN- J rf ,iEU,_ i H , , ;ii, ivX t)ji, Honglou meng xuekan 11 - HJ: 1 (1986):58-59.
57Qu Mu fit t4, "Lin Daiyu de xuefeng fK I { ,j J," Guizhou ribao SIi 1 i (26.10.1983). 58Hsien-hao Liao, "Tai-yii or Pao-ch'ai,"
p. 490.
59Anne Foreman, Femininity as Alienation : Women and the Family in Marxism and Psychoanalysis (London, 1978), p. 97.
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EDWARDS Gender Imperatives in Honglou meng 81
to become a wandering monk, undergoing a metaphoric castration, is the embracing of a Daoist masculine role which confirms
the phallocentric vision of the feminine, the sexualized Other, as an obstacle to male spiritual freedom.
IV。 Conclusion
In this article we have seen how the development of Jia Baoyu's character in Honglou meng has presented the opportunity for
a critical analysis based on notions of gender. In the examination of Baoyu's "metaphoric" bisexuality the complex and often am-
biguous interplay between the masculine and feminine symbolic systems becomes evident. Baoyu is portrayed as a complicated
and eccentric individual who rejects the established patriarchal norms of psycho-sexual development. Manifested in his effem-
inate personality Cao Xueqin's character has refused to conform to monosexual gender imperatives-that is, those signifying
practices that reject a bisexuality within, rather than between sexes. Jacques Derrida has described his own utopian image of a
society where individuals like Jia Baoyu are no longer considered eccentric or immoral. This would be the area where the
relationship between Self and Other is no longer dictated by a discriminating code of sexual marks.
The relationship [with the Other] would not be asexual, far from it, but would be sexual
otherwise: beyond the binary difference that governs the decorum of all codes, beyond the opposition feminine/masculine, beyond
bisexuality as well, beyond homosexuality and heterosexuality which come to the same thing... I would like to believe in the
multiplicity of sexually marked voices.60
The deconstruction of the ubiquitous phallocentric binary is a prerequisite for such unfettered, unrestricted transposition of
sexual signifiers. Cao Xueqin's text has a plen- itude of binaries and most significantly for this study the binary
masculine/feminine has been intertwined in such a manner as to encourage the dismantling of the rigid gendering of the sexes
within and between characters. The task for the critic then remains to reinscribe these now dismantled metaphysical and
rhetorical structures in a manner such that avoids privileging one side of the binary over the other/Other.
Lucien Miller asserts that in Honglou meng the reader is encouraged to "realize a new orientation" that "human suffering
results from the willful division of life into distinct categories."61 This statement is indeed most apt when one considers that
much of the conflict and internal anxiety suffered by Baoyu was caused by the attempt of his family and friends to distinctly
categorize him as male-masculine. These "distinct categories" are necessarily imbued with a rigid set of sexually marked voices
and not one of these was suitable for Jia Baoyu.
60Jacques Derrida and Christie V. McDonald, "Choreographies-An Interview," Diacritics 12 (Sum- mer,1982):76.
61Lucien Miller, Masks of Fiction in the Dream of the Red Chamber: Myth, Mimesis, and Persona (Tucson, 1975), p. 36.
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