This essay will focus on Cao Yu’s most important play Thunderstorm, which was published in 1934. Both texts. In both texts, there is a lot of emphasis on feminism as well as the dark side of feudal society. Zhou Pu-yuan is the patriarchal Chinese patriarchal family’s master. His first wife Shiping, his housemaid, had two sons. They were Zhou Ping, Ta-hai. Fan-yi is the main character in the play. Fan-yi is Zhou Pu-yuan’s future wife. She is well-educated, elegant, and decorous. Her age is just a few years younger than Zhou Ping’s. Fan-yi begins to lose her passion as Fan-yi becomes increasingly involved in mining speculation.
Fan-yi has an affair with Zhou Ping, despite the fact that it is against the law. Zhou Ping tries however to reach Si-feng, the daughter Shiping, the master’s first wife. Fan-yi’s disgust at Si-feng’s attraction to Zhou Ping drives her crazy. Si-feng was electrocuted accidentally by a livewire in a thunderstorm, and this had major repercussions. Because Zhou Ping was her brother in blood, she ran off. Zhou Chong is also killed in an attempt to save Si-feng. Fan-yi is left insane after Zhou Ping kills himself. The ending is tragic with many of the main characters being killed, but it is understandable to end it in this manner. It is a convincing end, as the antagonistic battle between the masters’ wife and his husband takes place; we see that there are huge gaps in the space of patriarchalism & old Chinese morals values. It is symbolic of the sadistic, greedy man who is driven to fulfill her desire for gratification of her sexuality by her possessive instinct. The household in which all the action occurs is where Fan yi appears. She would be the queen if she were alive during the rise in feminism. Despite her deepest feelings, she manages to free herself from the suffocating domain of her master. She resists all that is being done to her by harboring an inexorable romance with her stepson. It was an inexplicable sin. She may physically depend on the master, even though she has rescinded her master’s household and mentality. She cannot be self-sufficient and must rely on her master for survival. She is not trying to be independent, but rather because she is depressed and hopeless about love.
Fan-yi’s emotional dependency on Zhou Ping and her extreme tenderness towards Zhou Ping becomes clear when she asks for forgiveness. Si-feng can live with me forever, so I will continue to be there for you.” (Yu 1934). She sets up obstacles in order to try and break Si-feng-Zhou Ping’s marriage. Zhou Chong, her lover, is made to chase Si-feng. She is selfish and divergent.
Fan-yi is a mutinous assertor, but she has certitude as well as composure. Cao Yu intended that females should have a strong persona and be able to fight against injustice and inequity that women were experiencing at the time. Fan-yi’s pugnacious personality reflects that. Finally, she is freed from the restrictions of feudal moral values that kept her physically imprisoned. Cao Yu recognizes the uniqueness of Fan-yi and her betrayal in the midst a patriarchal hierarchy. Fan-yi is a heroine who can break apart the ancient vendettas and resentful patriarchal family. Cao Yu’s true beliefs, as revealed by this intriguing character, are clearly shown.
This play was originally written in 1934. However, theatre writing underwent significant changes during the late to late 1900s and the strong development of the feminist movement. Feminist postulation opened up everyone’s creative perspective and metamorphosed the male view. This had a profound impact on the philosophy of mankind. Even though idols may seem terrifying to men, they are all inferior to him. Therefore, men will invariably have the power to destroy them.
Feminist critics consider conventional literary writings, particularly those written by males, to be the result of prejudiced creations. Feminist critics see females as exploiting their own desires and creating a negative image of women. They clearly reflect the beliefs of males. Feminist critics have reservations about the male-written female characters. They suggest that female readers adopt an idiosyncratic view of the writings.
The patriarchal society places control over all aspects of life, including the freedom to speak. Feminine rights were taken away, and women had no right to speak out on any topic. Fan-yi belongs to this feudal social group. She is forced to obey Zhou Puyuan. Fan-yi was deprived in her rightful rights by Zhou Puyuan, who lived in a heartless mansion. China was a predominantly patriarchal society at that time. The lives of women were severely hampered. Although it was brutal, it was meant to maintain the family system. Fan-yi, a victim of the stereotypical bourgeoisie family, is represented in Zhou Puyuan’s mansion.
The play’s cataclysms clearly reflect the tragedies of that time. The way women are depicted by authors has changed significantly over the years. This play is one of the earliest to feature a rebellious female character. Although there are many steps to take, the rights of women today still need to be protected. This play should be a model for women to follow and overcome their flaws. Eileen Chang is a wonderful example of an author who went beyond the expectations. She is the true gem of modern literature.
