44 pages • 1 hour read
Shen FuA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
As a child, Shen Fu enjoyed observing the natural world. He would imagine that mosquitoes were cranes, letting them into his bedroom and blowing smoke among them so that they looked to be flying through a cloudy sky. Once, he was so engrossed watching two insects fight that when they were swallowed by a toad he was momentarily scared himself, before recovering and scolding the animal. On another occasion, an earthworm bit his genitals while he was squatting in the grass, causing them to swell so badly that he couldn’t urinate. His family tried to help by holding a duck’s head to his groin, duck saliva being the prescribed cure, but Shen Fu screamed so loudly for fear of being pecked that the incident became a family joke.
As he grew into adulthood, Shen Fu became deeply interested in the cultivation and arrangement of flowers. Orchids are his favorite flowers, and his teacher gifted him an outstanding specimen that died suddenly after only a few years in his possession. Shen Fu was distraught, swore never again to grow orchids, and later learnt that a jealous acquaintance poured boiling water over the flower to kill it. His second favorite flowers are azaleas, but he always had difficulty cultivating them since Chen Yun thought it cruel to prune them as thoroughly as good taste dictated. Every autumn, Shen Fu would pick chrysanthemums and display them in vases since he didn’t have the garden space to grow them himself, and flowers transplanted into pots never look right. He also appreciates the art of raising potted trees, although it takes decades to cultivate a single tree and very few people actually manage to do so well.
Shen Fu discusses some of the techniques used in flower arranging, such as the use of pins to secure flowers and wedges to shape picked boughs into curves. He also lists some guidelines for displaying flowers well, including the need for care in their layout and the fact that there should always be an odd number of flowers in each vase. When he’s at home, he always arranges a vase of flowers on his desk, and Chen Yun would admire his ability to create a lovely display regardless of the season. She suggested a method of including insects in his displays, by killing them with a pin and securing them in position with wires, which always impresses his guests. He finds that another pleasure of leisure is to burn incense in a quiet room and discusses the different methods of preparation for various fragrant woods and fruits.
Another pastime is the creation of miniature scenes by decorating pots. He shares some of his techniques and tricks, such as mixing cabbage sprouts with coal to produce a striking vista, or growing lotuses in egg shells to produce a specific shape. Together he and Chen Yun once painstakingly constructed a miniature world in a pot decorated with mountain stones. They fantasized about living in the miniature scene, discussing it at length, and were deeply grieved when it was upended and destroyed by a pair of brawling cats. Similar care, he believes, should be taken in laying out a garden, arranging things properly and thoughtfully so that real elements and illusions were intermingled and indistinguishable. Shen Fu believes that diligent effort must also be made when planning the layout of a house. He and Chen Yun always did their best to maximize space however small their accommodations, pasting white paper on the walls and thoughtfully arranging furniture.
Shen Fu and Chen Yun once spent 18 months living in The Villa of Serenity, the home of one of Shen Fu’s friends. Chen Yun supported them financially by embroidering and selling her own personal valuables, since Shen Fu wasn’t working at this time. Chen Yun was exceptionally skilled at producing delicious meals while spending very little. As a poor scholar, Shen Fu appreciates the value of frugality, which he defines as the quality of knowing when and how to save money. Yun was very adept at finding innovative ways to economize without compromising Shen Fu’s lifestyle.
Shen Fu enjoys entertaining friends and prides himself on being a good host, so most of their time in The Villa of Serenity was spent with a large and revolving group of likeminded scholars. Shen Fu’s friends, knowing him poor, contributed to the wine budget so that they could play drinking games. They fostered a generous and amicable atmosphere, forbidding talk of official business or examinations, but they competed in games of poetry composition in the style of exams. Shen Fu learned to paint from his artist friends and was amazed at the artworks they produced during that time. Chen Yun once amazed and delighted both Shen Fu and his guests on a visit to the countryside by thinking to pay a dumpling seller from the market to accompany them with a portable stove. In this way, they were able to enjoy hot wine, tea, and food while admiring the blooming fields of rape flowers, much to the envy of other visitors. Shen Fu laments that those idyllic days are passed and that those friends and companions have all parted ways or died.
This section differs significantly from the first part of the text in tone, topic, and even genre. Although it is also filled with anecdotes from Shen Fu’s life, these are not presented in any sort of chronological order—save for the fact that he recounts incidents from his childhood first. Instead, this part is dedicated to the theme of The Value of Simplicity and the Natural World by detailing the parts of life that Shen Fu considers most worthy of his attention during his free time. Passages of this part read like an instruction manual, or at least a guide for self-improvement in areas such as flower arranging, household management, and the cultivation of potted trees. Taking on a didactic tone, Shen Fu asserts his authority in matters of taste and culture by prescribing his opinions as the correct or best way of achieving worthwhile results.
This part also provides further evidence of the close relationship between Shen Fu and Chen Yun, as well as his admiration for her. The litany of praise, and the innumerable examples of her cleverness throughout this section are evidence of Shen Fu’s uncommon level of esteem for his wife. This is an important element of the theme of The Enduring Nature of Love and Companionship. However, the fact that Chen Yun must be so committed to supporting her husband’s interests and pastimes, and her obligation to provide him with a comfortable lifestyle regardless of the privations and personal sacrifices this imposes on her also highlights Filial Piety and the Position of Women. That Shen Fu relies on the generosity of his friends, on Chen Yun’s frugality, and also on her working to support him through embroidering shows Shen Fu’s dereliction of the responsibilities to provide for his dependent, responsibilities that come hand-in-hand with authority in Confucian ideology.
Overall, this section has a much lighter tone and mood than other parts of this text, most notably the tragic tale presented in Part 3. Humor features heavily in Part 2, particularly in Shen Fu’s foibles and farcical misadventures with bugs and ducks as a child. That Shen Fu is willing to immortalize such comical episodes alongside his serious tracts and tragic life story shows his humility, as well as his well-developed and often self-deprecating sense of humor. One significant moment of pathos is the destruction of the decorated pot by fighting cats. Shen Fu describes how they wept, having become invested in the object and their accompanying fantasy. The destruction of this small project foreshadows the coming destruction of their happy life together by hardships, calamity, and ultimately Chen Yun’s death. Just as the destruction of the pot could be interpreted either as an unpredictable act of ill fate, or rather as the result of their carelessness in storing the pot, or some combination thereof, so to do ambiguities leave the origins and culpabilities of the larger calamities in Shen Fu’s life open to interpretation. Despite this heavy and pathos-laden analysis, the excessive level of the couple’s investment in the potted landscape, as well as the absurdism of the manner of its destruction, also invites ridicule. This marrying of tragedy and comedy in a single incident shows Shen Fu’s skill in storytelling and his deft touch in crafting realism and mood.