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The image of bound feet and footbinding work throughout the novel to symbolize The Subordinate Status of Women. A woman’s sole function is to serve the family and, to do so, she must please the man who is her protector. The goal of footbinding is to shape the feet in the form of tiny “golden lilies” (12) that will fascinate her husband and make a woman appear dainty and graceful. To achieve this, the bones of a growing child’s feet are crushed and reshaped by bindings that, ideally, will bend the toes beneath the sole of the foot. Bound feet make it difficult to walk and impossible to run, and in time the young woman’s legs become emaciated. The crushed feet require rigorous care: Every four days they are to be unbound and washed, toenails trimmed, and then the feet are bound again and encased in embroidered slippers.
Aside from the agony that this procedure causes to women, not just during binding but lifelong, there is a risk of infection leading to death if bones break the skin and infection results. Yunxian reflects that around one in 10 girls dies during the binding process. Furthermore, this is a ritual elite women undergo in part to separate them from working women who have “big feet.” The magistrate at the inquest for Spinster Aunt acknowledges the pain of this process, saying, “As men, we admire the sacrifice and pain our women endure to give us this beauty to enjoy” (144). Throughout the novel, bound feet serve as an indicator of status and also as a symbol of the distortions women undertake to please fathers, husbands, masters, and sons so they might preserve their place in the home and, thus, have economic security.
Though she refers to it as a “marriage bed,” the large bed that Yunxian inherits from her mother comes to serve as her personal sanctuary and symbolizes the understanding of herself and her own wishes that Yunxian preserves throughout her life. This piece of furniture is impressive in appearance: “big and spacious—like a little house, with three small rooms” (10). It is beautifully decorated with silk paintings and wooden carvings. One antechamber provides a place for a maid to sleep and the second serves as a dressing room, while the main room houses the sleeping platform.
Yunxian’s bed becomes her retreat, the place that shelters her when she is hurt or ill, the place where she connects with her husband in mutual joy, and the place where, very often, she ends up tucked in with Meiling, discussing their plans and dreams. There is a loose panel in one wall where Yunxian stores things important to her: first, the red shoes that she keeps in memory of her mother, and then the papers where she writes notes about the medical cases she treats. As this bed travels with her to her grandparents’ home and then the home of her husband, it represents Yunxian’s psyche as she passes through the distinct phases of her life.
Yunxian notes that women from families such as hers are some of the most secluded. Their seclusion symbolizes that their purpose and function in their society is a private one: to maintain the family structure and keep the household running smoothly. While concubines might see something of the world in their youth, high-born girls are raised within the walls of their family compound and leave it only to travel to the home of their husband.
The gardens created for the family to enjoy, including the women and children, indicate the strict separation between private and public life. It is a mark of the Yang family’s status that they have a lavish private garden, called the Garden of Fragrant Delights. A similar enclosure, only on a much grander scale, is afforded the most important woman in the realm, the empress. That women are given such gardens for their pleasure suggests that their function, too, is partly decorative, to provide aesthetic pleasure for the owner. The gardens also symbolize the strict divisions that outline the culture they live within, which places different value on men and women, rich and poor, public and private.
By Lisa See