|[a] Looming change RF|
|[b] Domestic, order RF|
To make the point more starkly, women were raised in order to leave the family. Their role in their birth families was temporary. Inspired by a “Granetian” reading of social structure in the Mulan ci, we can begin to see the ballad as more than the story of a brave young girl who crosses her society’s gender lines to serve her family and her ruler. Indeed, it seems to me that the greatest misinterpretation takes place at the outset. Many popular readings of the ballad stress the “masculine” role of Mulan, or the theme of gender reversal as merely a play on male and female physical strength. They are less inaccurate than incomplete. There is much more to the tale.
While Mulan is a strong young woman in the text of the ballad, she plays her female role within the agnatic kinship network to its social structural conclusion. In (yin) essence, the Mulan at the end of the ballad will leave her family twice in order to revive it—first surreptitiously and selflessly, and second in the manner of all marriageable women in her society. In the first instance, she leaves her family to serve her ruler; in the second, she will leave them in order to serve a new mother-in-law. The Mulan ci, then, can be read as the story of an extraordinary woman going to enormous lengths to perpetuate the traditional domestic order. This reading links the martial and the marital in a tale of a strong young woman in a traditional social order.
|[c] Click, click RF|
Weaving Maiden, Inner Quarters
Click, click, forever click, click;
When the narrator states that the shuttle’s whir cannot be heard—only the crying of a young woman—it is hard for the experienced reader of Chinese poetry not to assume that she is pining for someone, since the theme of a woman missing her love even as she halfheartedly attempts her spinning is one of the most common images in all of Chinese literature.
"Oh tell me, lady, are you thinking of your love,
|[d] Abrupt change RF|
It is not difficult to guess what the answer to such a request would be in a tradition in which even appearing unaccompanied in public areas of the household could be scandalous for an unmarried woman. Moving from work that sustains the family to subversive action that could ensure its survival, Mulan is the protector of the domestic order par excellence. From silk to leather—worms to horses—she thinks only of her male kin. Despite her structural position as a temporary member of the family, she is in a position to restore the family’s order precisely because she is dispensable in the larger kinship structure. Without asking for permission, she creates the groundwork for structural change that possessed the possibility of destroying the domestic order, even as it sought to restore it.
|[e] On the move RF|
 Victor Mair, editor, The Columbia Traditional Chinese Literature (New York: Columbia University Press, 1994), 474-476. In the interests of consistency and with an eye to the kind of audience that first read the Ballad of Mulan, I have used the Arthur Waley translation for this treatment. Further posts (down the road, as it were) will explore other ways to look at individual lines and terms. My concern for now is the flow of events from household to war camps and back again. Arthur Waley (1889-1966), being a relative contemporary of Marcel Granet (1884-1940), seems perfect for this particular exercise.
Mair, Victor. The Columbia Anthology of Traditional Chinese Literature. New York: Columbia University Press, 1994.
Mulan Hits the Road
The savior of the domestic order notes the cardinal directions and yin-yang flows as she heads off to represent (and transform) her family.