A Leap Further By Being Stiff Essay

The concept of being inflexible or being stiff in making decisions has been conceivably one of the finest characteristic which has served the protagonists in the famous stories made in Asian literature.   Pak Hun in The Descendants of Cain, the student in Ya Dafu’s Sinking and Junshi in Creation, portray a character which in one point or another gives light to what appears to be sturdy sense of personality in the arena of decision making and in the context of survival and collaboration with the other characters in the story.   Perhaps that certain point of personality is nevertheless one of the viable factors why the aforementioned roles portrayed has been greatly regarded by the viewing audience, and in a larger concept, patronized as distinctive and distinguishing for that instance (Anderson). Pak Hun in Hwang Sun-won’s Descendants of Cain   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The main character of the story is Pak Hun, which is characterized as a passive person with eternally hesitant and ineffectual finesse.   Even though he is placed in a pedestal of social and political turmoil over the issue of survival and the perception of â€Å"not acting is not surviving,† the author gave him a powerful disposition in the love story that he has shared with the married lover, Ojaknyo.   His nostalgic yet inexorable presupposition on how to help the people in his village without compromising his fists just to save the love he has painstakingly pampered has caused him well in leading on to his venture in life and manhood. Unlike the other heroes in most stories, Pak Hun is deprived to act in his own will, driven by the horrors of reality and of what seemed to be his inherited fate in social class and on his manner in taking on the course of life.   Apparently, this so-called stated cowardice has served him the best of his effort, his compassion for others has saved him from the infamous destiny that he has forsaken.   Being sympathetic and sensitive has been a source of syntax towards emotion and a stronger drive for the Hamlet-like character to lead more than what he might further get in return of the â€Å"inflexibility† not to move mountains but to live a life worth living (Choe). The Student in Ya Dafu’s Sinking   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The connotation of â€Å"national allegory† in Yu Dafu’s Sinking offers an articulate and interwoven portrayal as represented by the student in the story (Denton).   Consequently, several critics portrayed the character as that which depicts the political situation of China as well as with the state of â€Å"powerlessness† that it is experiencing—gradually that of a modern mind, alienated from the faà §ade of the society, turned in on itself, ultimately divided and desolate for liberalism—psychologically apart from the social milieu. Sexual liberalism was rarely stated in the story, hence, in the general context in deciphering the meaning of the whole gist of the story, it would be seen that the student is after the â€Å"affection† of love and sexual activity—which on the more complex comprehension determines the fatal state of crisis of China in that certain point of time.   The protagonist’s patience and admiration to the flow of what seemed to be â€Å"natural way of life† has saved him from being off the scene of explicit exposure to the red light society which he later finds out to be a beneficial thing within the grasp of the May Fourth dilemma. Those who were behind the bars of desperation have been emotionally convicted in living in agony’s sagacity and apparently making them a part of the unidentified sinking icons in their community.   All of which lead to a single idea that the protagonist himself his leading a social transformation through the light of traditionalism.   Nevertheless, it showed that the point of â€Å"sinking† was happening in a nationalistic schema which in the vortex of the south and traditional China’s scenario, it may be taken to assumption that a moral community has longed for a distant sense of transformation which is clouded by a strike of fantasy and illusion. Junshi in Mao Dun’s Creation   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The Creaation, published in the year 1928 commences the story with Junshi, an intellectual man experiencing a crisis in life and a flashback of emphasis on failed projects which on the brighter side has made the protagonist gain much by choosing to stick on the result of what has been defined as lacking of revolutionary consciousness.   The ostensibly optimist portrayal with regard to women’s emancipation has been symbolized through Junshi’s stubborn yet sanguine personality which fueled his drive to overcome pessimism (Anderson).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The inflexible and confining ideals that has bewildered Junshi was basically a manifestation on his dream and hope, perceivably, to transform his wife, Xianxian through the advent of providing her with the amenities and educational entities which are aimed to mold her into a fashionable and politically and culturally inclined woman. Junshi then later finds out that his so-called creation of his wife has not given him the ample point of expectation that he wished to have, rather making him the person who is to catch up rather than one to have molded his wife in return.   The very fact that it has weakened his wife’s dependence on him and made her stronger in an astonishing effect—unlike the other characters in the aforementioned stories, inflexibility in Junshi’s case has been unsuccessful and has even made him see himself as a pitiful and apathetic person rather than that which ruled their marriage. Works Cited Anderson, Marston. â€Å"Beyond Realism: The Eruption of the Crowd.† Mao Dun, Zhang Tianyi, and the Social Impediments to Realism: The Regents of the University of California, 1990. Choe, Wolhee. â€Å"The Descendants of Cain.† Pacific Affairs 73.2 (2000): 2. Denton, Kirk A. â€Å"The Distant Shore: Nationalism in Yu Dafu’s â€Å"Sinking†.† Chinese Literature: Essays, Articles, Reviews (CLEAR) 14 (1992): 107-23.