Xu Dishan’s Spring Peach is a piece of modern Chinese Literature that, through the character’s actions, critiques and reflects the resistance against tradition and the prominent gender roles brought upon by the Nationalist Government. Xu Dishan was a highly educated individual, as at the age of twenty-four, he entered one of the most prestigious universities in China. His stories, along with those by Lu Xun, became significant representations of the New Literature Movement. His principal topics mainly consisted of romantic and family subjects. However, once the Anti-Japanese War began, Dishan reflected much of the social problems rooted in the views of the Nationalist Government into his work, creating a sort of critique on society and its conformity to said traditions.
The story consists of three main characters: Chuntao, Xianggao, and Li Mao. Xianggao and Chuntao have a relationship much similar to that of a husband and wife, yet Chuntao actively resists being called his wife. It is later revealed that Chuntao was in fact married to a man named Li Mao, but lasted less than two days. It is explained that once separated, Li Mao became a soldier, but then became a beggar after he lost both legs. Once all three occupy the same house, forming more of a polygamous relationship, they start a small business collecting and sorting through paper scraps. Chuntao, Xianggao, and Li Mao engage in a codependent relationship, each having a role in the paper scrap business. Finally, the story begins to come to a close when Li Mao attempts to commit suicide and ends with all three still living together, all while Chuntao still persists to withstand the concept of being a wife until the end of the story.
Prior to analyzing Spring Peach, one must take into consideration the context and events occurring around the time of its publication. For example, the May Fourth Movement during 1919, which was an anti-imperialist, cultural, and political movement led by students in Beijing, and the rise of the Chinese Communist Party were two prominent social movements that sparked change within society, influencing Dishan’s literature. This social resistance is reflected, for example, in Chantao’s ideals and perseverance to stray from the social status quo. She constantly resists being called a wife, as she states “Wife, wife, don’t call me that” (62) throughout the entirety of the story. While marriage was something that was expected by a woman, Chuntao actively counters this norm placed upon her. All in all, one can also claim that by doing so, she is a feminist. Equally important, the social influence is apparent in the title of the story itself: “Spring”, as in “renewal” and “rebirth”, and “Peach”, which symbolizes “union” in the Chinese culture. Thus, taking it word by word, the title can signify “renewed union”. This new form of union is represented by the polygamous relationship formed by the end of the story, which was very uncommon at the time. Just as the social movements marked a new age of change, the character’s motives and actions could be interpreted as an embodiment that marks the transition from the acceptance of the common societal norms to the introduction of a more modern and different way of life. Hence, it is evident that the social movements occurring at the time greatly influenced Dishan’s work.
Moreover, there are several critiques on society that Dishan projects through his writing. For one, by frequently regarding Chuntao as a commodity rather than a human being, such as when Li Mao and Xianggao explain to write “a bill of sale” (74) or when they state that they “must first take care of our self interests, and then we can be gentlemen later” (75), reveals the harsh and degrading perceptions of women prior and during the time period of the Nationalist Government. Equally important, Dishan states, “to be frank, in our society, only the parasites and exploiters observe the so-called customs and traditions”, in regard to the traditions held by the higher social classes. A patent example of this is foot binding, as those in the higher class saw the action as something prosperous for women of high class, whereas it impeded those from the lower class to help provide for the family. In a society that previously held inhumane customs such as foot binding to establish a women’s social class, by becoming immobile, placing this disability upon daughters in return for social gratification, it is clear that there were rigid gender roles women were expected to follow, and are clearly reflected and critiqued within Spring Peach. Furthermore, when Chuntao meets Li Mao after several years apart, she comments “Am I still a human being if I throw you out when I see that you cannot walk and do heavy work?” (79). Overall, this criticizes the custom of not only disregarding a person with disabilities, but the notion that because they are disabled, they cannot be a valued individual. It causes the reader to question society’s own moral, as it is clear that discounting the value of a person solely because of their disability is unethical, yet it is constantly done by society. To such a degree, Dishan’s Spring Peach criticizes and juxtaposes the social norms held by society within the story and in reality, to reveal the social problems caused by the Nationalist Government.
Lastly, Xu Dishan connects the notion of gender and disability throughout his story, one of them being specifically apparent in the scene where Li Mao attempts to take his own life, as the text states: “Taking one’s life for the sake of others is the spirit of a knight. If Li Mao still had two legs, he would not have had to resort to such a measure” (80). First, this emphasizes and reflects how society, especially at the time, places individuals in fixed stereotypes that are almost impossible to escape. It can be seen that because of Li Mao’s disability, he no longer fits into the prototype of what it meant to be a male, resulting in the overall sentiment of feeling as a nonentity. Thus, this shows the extent Li Mao willingly goes to escape this said stereotype, as he is burdened by the lack of being a “man” because he does not conform to the traditional standards. Furthermore, Dishan states that “taking one’s own life for the sake of others is the spirit of a knight”. A “knight” was perceived as a man of honor and bravery, one who would sacrifice their life for the protection of others. Consequently, this “knight” represents who Li Mao used to be prior to his disability. Transitioning to the individual he is with his disability, this notion of sacrifice, taking his own life for the sake of Chuntao and Xianggao, may be what Li Mao saw as his last resort to manifest his masculinity and valor. It is at this moment that he is blinded by the traditions and gender roles placed upon him by society, for his own lack of pride almost resulted in his own demise. As a result, his disability and gender are bridged, as not only did he become physically immobile, but it is also because of his disability that he has no capacity for social mobility as a man, reiterating the concept that one’s disability becomes their sole identity. Thus, it goes to show how had he not lost his legs, had he not been disabled, he would have been able to fulfill his “role” as a man.
