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The second portion of the book tells of the death of the emperor and dowager princess. Yehonala and Sakota become the Dowager Empresses and are equal in power. But tongues are beginning to wag. Is Yehonala's son the emperor's child? Is someone plotting against Yehonala? Why is Sakota behaving so icily toward her? Yehonala must answer the questions to save not only her son and her own life but also the kingdom. Learning to trust no one but her 'loyals', Yehonala rules the kingdom with a strong hand.
The main characters shape Imperial Woman. Pearl Buck does a phenomenal job of portraying her characters. They are also easy to connect with and you find yourself cheering for Yehonala. You share the emotions with the characters, when Yehonala is distressed because she will never be able to marry the love of her life now that she is the emperor's concubine; you find that you are crying with her. The main characters are Yehonala/ Tzu Hsi, Sakota, Li Lieng the Eunuch, The General of the Imperial Guard (Yehonala's cousin), The Emperor, and Tung Chih.
Yehonala is the main character and protagonist of the story. She is the spirited concubine who becomes the Emperor's favorite. She moves through many roles such as third rank concubine, first rank concubine, Fortunate Mother, Sacred Mother (Tzu Hsi), Consort, Empress of the Western Palace, Empress Mother, Empress Regent, and finally, Empress Dowager'the Old Buddha. Sakota is Yehonala's cousin and started as a first rank concubine. She was the first concubine because her father died fighting for the late Emperor, so the current Emperor owed it to her for her father's act of bravery. After she gets pregnant, the emperor has done his duty and his attention wanders to Yehonala. She soon becomes the Emperor's favorite and gives him a son. In ancient China, they did not realize the affects that opium taken in large quantities, every day would have on their bodies. Instead, it was believed that it had healing properties and would make you better and there was not such a thing as too much. So because of the large amount of opium they were giving the Emperor to heal him it eventually killed him. Li Lieng the Eunuch is probably the most loyal member to Yehonala. Even when she was third rank concubine he was loyal. When Yehonala finally asked him why he helped her because she had nothing to give him and she could not pay he replies 'I know what your destiny is ' When you rise toward the Dragon Throne I will rise with you, always your servant and your slave.' Li Lieng brought Yehonala gossip and news. He influenced major princes because the Eunuchs wielded much power. Li Lieng helped Yehonala privately meet the General of the Imperial Guard, her cousin who she was in love with, although there are suspicions that Li Lieng was in love with Yehonala as well. The General of the Imperial Guard was Yehonala's cousin who she had been engaged to before she became the Emperor's concubine. They were very in love and arranged secret meetings with the help of Li Lieng. The General eventually got married to Yehonala's favorite maid so as to avert suspicions of an affair. Last but not least is Tung Chih. Tung Chih was Yehonala's son and the new Emperor of China. He did not have much time to rule because he died young and his wife was so heartbroken she killed herself. This left Yehonala to pick someone else to rule.
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A touching and sad story, one that is hard for the younger generation to comprehend.
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As the novel unfolds, Elizabeth reflects on her past life with the absent Gerald. She also tells the story of her ongoing relationships with her and Gerald's son, Rennie; with Gerald's elderly father; and with other people in her life.
"Letter" is a fascinating look at how international political forces can act like a "tidal wave," affecting families profoundly. The book is also an intimate look at a marriage from a woman's perspective, and a compelling study of a biracial young man (Rennie) who is struggling with his dual heritage while making the passage to manhood. There is also an element of political intrigue and danger, although the focus of this book is family relationships and emotions.
Although the dialogue is occasionally a bit stiff, overall I was very impressed by the subtle artistry of Buck's prose. She has an eye for details: an old man's dragon-headed cane, the birth of a calf, "arching maple trees blazing with autumn fire," etc. At its best she attains a delicate, economical poetic prose. This is a fine novel by a writer who, in my opinion, deserves more attention.
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It's an exciting and sad novel. Reading the evolution of the Tiger's rise to power made the Merchant's and Landlord's lives pale in comparison. Wang the Tiger was a most fascinating character, always obsessed with control not only of others, but of his own inner feelings. It was as if he was driven to be more than human...strong and willful, void of any weakness, void of any softness of heart, setting impossible standards for himself.
Once his son was born, he transferred all of his focus from warring, to raising his son as a warrior like himself. His love for his son, like his love for power, was unwavering, unbending, and suffocating. For example, this was evident in the times when the Tiger noticed that his little boy was so grave and quiet for one so young. Also, though his son did whatever he was told to do, he lacked any spirit or enjoyment in his tasks. Unfortunately, every time the Tiger saw this, he had a moment of clarity, but was quick to ignore or bury it, and thus never really attained the wisdom to forsee what would become of his only precious son.
This was a wonderful and exciting novel to read, very different and lively feeling to that of "The Good Earth." Yet it's absolutely necessary to read it as part of the trilogy. Once you finish, you'll be anxious to know what becomes of the Tiger's son, and how the coming revolution will change their relationship.
The story is a little bit long, in a way. However, it wis certainly worthy to be read as it shows me how men, no matter how "straight" they are outside, have after all been self-centered. The book is also not in very difficult language. It needs a little bit patience, bit will make a difference in people's life. Give it a try!
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Instead of 'controlling' her family's happiness she begins to understand that happiness comes from setting the soul free so it can truly be itself. In doing that she understands her own immortality and achieves a peace she never thought attainable.
Pearl Buck weaves a story of a beautiful, dutiful woman who in the world's view has everything but learns to give it up so she may find the happiness that all souls seek, freedom to be who God intended.
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Jablow notes in her intro that "Child" first appeared as an article in "Ladies Home Journal" in 1950 and was shortly thereafter published in book form. Jablow notes that the book is "a landmark in the literature about disabilities." As such, I consider "Child" a fitting companion text to a book like Helen Keller's "The Story of My Life." Jablow notes that mental retardation "carried a shameful stigma" when Buck first had this story published; Jablow provides further useful historical context for the main text.
Buck writes very movingly of her heartache at the discovery of her child's plight. She documents her awareness of the stigma against people like Carol, and also tells of her search for an institution where Carol's special needs might be met. Buck passionately defends the humanity and worth of the mentally retarded, and tells what her experiences with Carol taught her: "I learned respect and reverence for every human mind. It was my child who taught me to understand so clearly that all people are equal in their humanity and that all have the same human rights."
Walsh's afterword continues the story of Carol. She fills in some of the very obvious gaps in Buck's story. Walsh's contribution to this book is very moving, and includes photos of Carol.
In addition to being a work of historical and sociological importance, I found "The Child Who Never Grew" to be a moving and very personal piece of American literature. For another good companion text, try William Styron's "Darkness Visible," in which the distinguished writer tells of his battle against clinical depression. Also, try "On the Way Home," by Laura Ingalls Wilder; this book has additional material by Laura's daughter, Rose Wilder Lane, and like "The Child Who Never Grew" is thus a sort of mother-daughter literary collaboration.
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Buck describes how difficult it is for one to accept change in age-old rituals. Although many of the traditions are seen as unnecessary, foolish or just plain sadistic, it's difficult to question them after growing up in a culture where these traditions have been practiced for thousands of years. The narrator is a good vehicle to show how upsetting, confusing and frustrating it can be to incorporate these changes into one's life. Time and time again the theme of the generation gap is revealed, showing how many people simply cannot be changed.
Although many of the following issues came into strong play in this novel, it wasn't so much a search for better opportunity, nor political freedom, independence, nor education, that was the big catalyst for change, as was the simple concept of romantic love.
This was a lovely, bittersweet story with a seemingly very realistic portrayal of how a family rooted in tradition would react to their children, who want to break from tradition. A classic issue, regardless of what era or culture in which one lives.