Women Warriors and Amazons of the mid Qing TextsJinghua yuanandHonglou meng

Many cultures include in their narrative discourse tales of women who have gone to war or joined the hunt and indeed Chinese culture has produced a plethora of tales which relate the deeds of such strong and exceptional women. The general opinion from Western academics about these women is that they are rebelling against restraints imposed upon their sex by patriarchal society and ‘under the guise of patriotism or wifely devotion [find] an understandable motive for rejecting hearth and home.’ That patriarchal discourse should perpetuate through history and literature a subversive mode of thinsimply because it was duped by the invocations of patriotism an loyalty appears less than convincing. Certainly, if these are the woman warrior's motives then they have been exceptionally well disguised by the literary redactions of the deeds of the women warriors in Chinese culture. It is the intention of this article to explicate the complexity of the woman warrior in Chinese culture and reveal the multiplicity of discursive functions she fulfils by using the specific case of two mid Qing texts, Honglou meng and Jinghua yuan. The contradictions embodied in the recurring form of the woman warrior and her Amazonian sisters hold a key to understanding the complex and ambiguous signifying systems of sexual ideology in mid Qing Chinese culture. In this respect I will be invoking an Althusserian notion of the specific relationship between ideology and literature whereby the particular feelings or perceptions generated by the literature are regarded as being produced by the ideology within 'which it bathes, from which it detaches itself as art, and to which it alludes' through an internal distanciation from that very same ideology.2 In Honglou meng and Jinghuayuan this internal distanciation is made apparent by the elaborate use of myth in the former and irony in the latter.