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Pantoun for Chinese Women Poem Summary line by line

Pantoun for Chinese Women is a poem by Shirley Geok-lin Lim, an American-Malaysian poet. This pantun, a type of traditional Malay poetry, explores the lives and roles of Chinese women in a moving way.

Pantoun for Chinese Women Poem Summary

“You gather me into your arms,” The poem begins with an intimate and nurturing image, suggesting a sense of care and protection. The speaker is addressed, and there’s an implied act of gathering or embracing.
“Wise as the Chinese women in books.” The wisdom attributed to Chinese women is not just based on personal experiences but extends to the collective knowledge found in literature and cultural narratives.
“My mother did not teach me the stories.” The speaker introduces the theme of maternal influence, highlighting a departure from the conventional way of passing down cultural stories and wisdom from mother to daughter.
“I learned from my father to wash my rice bowl.” The speaker shares an unconventional learning source, emphasizing the role of the father in imparting practical skills like washing a rice bowl, which might symbolize essential life skills or self-sufficiency.
“In youth my breasts were as pointed as the mountain Yen.” The mention of physical attributes, specifically pointed breasts, draws attention to the speaker’s youth and vitality. The reference to the mountain Yen might symbolize strength and firmness.
“Now they are as brown as my husband’s cheeks.” The color of the speaker’s breasts is compared to the complexion of her husband’s cheeks, suggesting the influence of marital life and the passage of time.
“My skin is yellow as the opium poppy.” The speaker describes the color of her skin, using the metaphor of the opium poppy. This may evoke cultural connotations, as well as allude to historical and societal issues related to opium.
“You laugh, you are not pretty now.” There’s a conversation or interaction occurring, and the speaker’s appearance is commented upon. The use of laughter introduces an element of shared understanding or camaraderie.
“Your eyes are wise as the Chinese women in books.” The mention of wisdom recurs, reinforcing the idea that the depth of the speaker’s eyes is reminiscent of the wisdom attributed to Chinese women in literature.
“I am ashamed of my intelligence.” The speaker expresses a sense of shame or discomfort about her intelligence, possibly reflecting societal expectations or norms that might discourage women from displaying their intellectual capabilities.
“I once shamed my husband. Each time we made love” The speaker reflects on a past experience where she may have caused shame to her husband during intimate moments. This could suggest a breach of cultural or personal expectations.
“He would cut his fingers on my teeth.” The imagery of cutting fingers on teeth introduces a metaphorical element, possibly representing the unintentional harm caused in the intimate relationship.
“I want to be like the women in books, not like myself.” The desire to emulate the women portrayed in literature is expressed, highlighting a discrepancy between the idealized images in books and the speaker’s own self-perception.
“You gather me into your arms.” The poem concludes with a repetition of the opening line, creating a circular structure. The act of being gathered into someone’s arms is reiterated, suggesting a sense of comfort, acceptance, or reconciliation.

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Pantoun for Chinese Women Poem

“At present, the phenomena of butchering, drowning
and leaving to die female infants have been
very serious.”
–The People’s Daily, Peking, March 3rd, 1983They say a child with two mouths is no good.
In the slippery wet, a hollow space,
Smooth, gumming, echoing wide for food.
No wonder my man is not here at his place.In the slippery wet, a hollow space,
A slit narrowly sheathed within its hood.
No wonder my man is not here at his place:
He is digging for the dragon jar of soot.

That slit narrowly sheathed within its hood!
His mother, squatting, coughs by the fire’s blaze
While he digs for the dragon jar of soot.
We had saved ashes for a hundred days.

His mother, squatting, coughs by the fire’s blaze.
The child kicks against me mewing like a flute.
We had saved ashes for a hundred days,
Knowing, if the time came, that we would.

The child kicks against me crying like a flute
Through its two weak mouths. His mother prays
Knowing when the time comes that we would,
For broken clay is never set in glaze.

Through her two weak mouths his mother prays.
She will not pluck the rooster nor serve its blood,
For broken clay is never set in glaze:
Women are made of river sand and wood.

She will not pluck the rooster nor serve its blood.
My husband frowns, pretending in his haste
Women are made of river sand and wood.
Milk soaks the bedding. I cannot bear the waste.

My husband frowns, pretending in his haste.
Oh, clean the girl, dress her in ashy soot!
Milk soaks our bedding, I cannot bear the waste.
They say a child with two mouths is no good.

Conclusion

“Pantoun for Chinese Women” by Shirley Geok-lin Lim is a rich and nuanced exploration of identity, womanhood, and cultural expectations. Through the lens of a pantun, a traditional Malay poetic form, Lim weaves together themes of wisdom, physical changes, marital dynamics, and societal pressures. The speaker’s introspective journey unfolds, revealing a complex interplay between personal experiences and the ideals portrayed in literature. The poem poignantly captures the tension between individual aspirations and societal norms, highlighting the universal struggles faced by women in navigating their roles and self-perceptions.

FAQ:

1. Who is Shirley Geok-lin Lim?

Shirley Geok-lin Lim is a Malaysian-American poet, literary critic, and scholar. She is known for her works that explore themes of identity, feminism, and cultural dynamics. Lim has received acclaim for her contributions to both poetry and academia.

2. What is a pantun?

A pantun is a traditional form of Malay poetry that consists of quatrains, or four-line stanzas. The first and second lines of each stanza set up a metaphor, and the third and fourth lines respond with a counter-metaphor. The form often employs repetition and rhyme, creating a rhythmic and cyclical structure.

3. What are the central themes of “Pantoun for Chinese Women”?

The poem explores themes such as identity, cultural expectations, womanhood, wisdom, physical changes, and societal pressures. It delves into the speaker’s introspective journey and the tension between personal experiences and the idealized portrayals found in literature.

4. How does the poem address the concept of beauty?

The poem subtly addresses societal notions of beauty and the speaker’s evolving perception of her own physical attributes. It touches upon the influence of cultural expectations and the speaker’s desire to conform to idealized images found in literature.