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| a state of extreme apathy or torpor resulting often from stress or shock |
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| to slow or make difficult |
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| sexual pressure from being humiliated |
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| A group of activists in a communist or other revolutionary organization |
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| A length of such a stem used as a walking stick |
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| A musical instrument of the Renaissance and baroque periods, typically six-stringed, held vertically and played with a bow. |
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| An evergreen tropical American tree (Crescentia cujete, family Bignoniaceae) that bears fruit in the form of large woody gourds |
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| Sudden attack or violent expression of a particular emotion or activity |
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| Anger or annoyance provoked by what is perceived as unfair treatment |
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Grand and impressive in appearance
Imposingly deep and full |
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| Marked by extreme desire to acquire or possess |
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| Having a spirit of friendliness |
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| a walk around a territory |
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| A feeling of fear or agitation about something that may happen |
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| A punishment or fate that someone deserves. |
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| someone who obtains pleasure from inflicting pain or others. |
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| A deciduous Chinese tree (Ginkgo biloba, family Ginkgoaceae) related to the conifers, with fan-shaped leaves and yellow flowers. |
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| The handle of a weapon or tool, esp. a sword, dagger, or knife. |
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| An aromatic ointment or other resinous medicinal or cosmetic preparation. |
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| An object, typically an inscribed ring or stone, thought to have magic powers and to bring good luck. |
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| Brave; A man who pays special attention to women |
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| An uneducated and unsophisticated person from the countryside. |
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| Wave or flourish (something, esp. a weapon) as a threat or in anger or excitement. |
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| A person who gets sexual pleasure from secretly watching people undressing or engaging in sexual activity. |
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| A mischievous young child, esp. one who is poorly or raggedly dressed; Goblin |
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| A toilet, esp. a communal one in a camp or barracks. |
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| Pertaining to, or designating, an acid derived from coal tar and other sources |
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| walking as if, or while, asleep. |
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| an undergarment worn by women to support their breasts. |
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| Metaphor of rebirth and reeducation |
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| The outside world, “locked away”; the power of literature |
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| Constant fear of death, present every day |
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| A hybrid of land and sea, The Seamstress is a hybrid uncivilization and civilization |
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| Auto da fe, Balzac gave her the idea of leaving so they were burned |
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| in the days before his detention, my father used to sya that dancing was not something that could be taught, and he was right. The same is true of diving and writing poetry, for the best divers and poets are self-taught. Some people can spend their lives having lessons and still resemble stones when they hurtle through the air. They never achieve the lightness of dropping fruit |
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| how naive and brainwashed the headman is |
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| This is a typical symbol of danger and coupled with the narrator’s misgivings about their adventure |
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| This helps to signify his belief that he will never be free. |
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| This exemplifies the Narrator's love for literature and his desire to own the words of the book, and keep them for his own. |
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| This loss of time and routine could be foreboding how Luo and the narrator's experience on Phoenix Mountain is to have no end, and that they will never escape the re-education program. Luo and the clock could also be symbolizing the relationship between Luo and the Little Seamstress. Luo tries to educate the Seamstress for his own benefits, almost as to prove his superior intelligence although the knowledge he acquired at school was "precisely nil". |
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| A lot of bird imagery is associated with |
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| The Little Chinese Seamstress, where she wishes to be free, like birds in the sky. |
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| Butterfly leaves that the seamstress stains with the blood of her virginity |
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| Butterflies strongly characterize change, from immaturaty to maturity, and when the seamstress stains the "butterfly leaves" with her own blood, Sijie foreshadows the seamstress' own inevitable transformation, a transformation that the seamstress has almost paid a blood bond in. |
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| Symbolizes the failures of Mao's cultural revolution and the limit of his influence over the people of China. |
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| The Old Miller and his 'jade dumplings' |
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| Shows the extent of Mao's cultural revolution. The Miller represents the people who were not reached by Mao's influences and also shows the poor conditions of people in the countryside at the time. |
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| "Her tiny figure is like a fruit growing at the top of a tree...Suddenly, the fruit falls" |
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| The little seamstress' is portrayed as "tiny" and "like a fruit" where her attractiveness towards Luo is implied, "fruit" also alludes to a sense of temptation where Luo has desires for her physical attributes. |
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