This death and suffering is closely related to the Chinese Boxer Rebellion, because there was a surplus of these sensations due to all of the belligerence taking place within it.
This theme is also the predominant motif found in Dao's "Resume." This piece of literature similarly details a speaker's journey along the path of life. However, this journey includes the sort of belligerent imagery which attended the Chinese Boxer Rebellion, and which is also found in the imagery of the other two pieces of literature examined in this essay. The speaker relates the fact that "I was obliged to do battle with history/and at knifepoint formed a family alliance with idols" (Dao 577). The imagery in this passage is certainly aligned with the motifs of pain and suffering that are indicative of any armed rebellion predicated on force. This fact is made abundantly clear because of the imagery regarding "battle" in this poem. Battle, of course, is what took place when the speaker in "On the Road at Eighteen" had to fight with other travelers who were attempting to steal the apples from the speaker's companion. The imagery found in "Curriculum Vitae," which focused on death and sorrow, is the sort of imagery that occurs after such a battle. Thus, it is fairly apparent that there is an alignment of the imagery found within these works. Moreover, that imagery is directly applicable to the reaction to the Chinese Cultural Revolution. During this revolution there was a bevy of martial encounters or battles, which resulted in numerous deaths and the filling of graves. The sorrow of this reality is found in Cheng's work. Similarly, imagery of battle and fighting is also found in Dao's poem. It is important to realize that the speaker is able to from an alliance at "knifepoint," which is another robust image of the sort of belligerence that describes the imagery found in all three literary pieces discussed in this document.
The other distinguishing characteristic of the Chinese Cultural Revolution is that it was not merely the result of a single battle, but the result of a lengthy, drawn-out process that actually took several years to enact. This characteristic is best underscored by imagery suggestive of a sojourn of journey. It is critical to realize that there are elements, and imagery, of journeys in each of the three pieces of literature detailed in this essay. Actually, the fact that the speaker is on a journey is the primary characteristic of the allegory in Hua's "On the Road at Eighteen." The imagery conjured by the title helps to connote this fact, as the title alludes to "the road" and the journey upon which the author embarks. In fact, the entire work is about a journey the author makes. The nature of that journey itself is worthy of scrutiny. It is a journey in which the author begins traveling in one direction, only to go another when he hitchhikes with a truck. By effectively backtracking with the truck, the author is alluding to the fact that communism is actually regressing the civilization in China. It is regressing Chinese civilization because it is returning it to a time of violence and fighting, which is underscored by the dominance of imagery indicating such a savage state. Nonetheless, the author is journeying down a road and actually ends up going farther away from where he is trying to reach because of the retrograde motion of communism.
There is certainly imagery in "Curriculum Vitae" which is suggestive of the journey that the Chinese Culture Revolution culminated in. Again, this fact is underscored by the usage of a path which is the speaker is traveling. The speaker communicates the fact that he or she "walked out, followed a chalk road, walked into a town" (Cheng). The reference to road is the primary imagery which connChinese Cultural Revolution in Literature
There are a number of stark images found in the works of literature reviewed by Dao, Cheng, and Hua in this assignment. Specifically, this paper details the imagery evinced in Bei Dao's "Resume," Gu Cheng's "Curriculum Vitae," and Yu Hua's "On the Road at Eighteen." That imagery and those works in general are thinly veiled allusions to the Chinese Cultural Revolution, which took place in the early to midway part of the 20th century. It largely appears as though the imagery evinced in this work is indicative of some of the more salient factors of this revolution. Regardless of the political orientation of those who took place in this revolution, one of the more demonstrable facets of its manifestation was a surplus of fighting, pain, bloodshed, and even death. All of these images are found in the aforementioned works of literature, which suggest that the most eminent repercussion of this revolution was a maturation of the people largely demonstrated by pain and…
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