Balzac and the Little Chinese Seamstress
by Dai Sijie

Storytelling, Censorship, and Power Theme Analysis

Themes and Colors
Education, Re-Education, and the Cultural Revolution Theme Icon
Coming of Age Theme Icon
Storytelling, Censorship, and Power Theme Icon
Friendship and Loyalty Theme Icon
LitCharts assigns a color and icon to each theme in Balzac and the Little Chinese Seamstress, which you can use to track the themes throughout the work.
Storytelling, Censorship, and Power Theme Icon
Storytelling, Censorship, and Power Theme Icon

The Cultural Revolution sought to eliminate any kind of art, music, or literature that didn't fully support the political aims of the government. The narrator says that both western and classic Chinese literature are banned, and some works of music have been altered to pay homage to Mao. With this backdrop, the novel explores how storytelling and censorship work together and in opposition to each other, particularly showing how storytelling can give individuals power, and censorship can enhance the power and allure of works of literature.

China's strict censorship of artistic expression and intellectualism suggests, first of all, that there is value and power in art, music, and storytelling—if there weren’t, such types of expression wouldn’t be a threat to the Chinese government’s aims of a fully communist society. Artistic and literary pursuits, particularly when they shed light on other parts of the world or champion individualism, take power away from the government by making it clear to the people that there are other ways of living, and that people who live differently might be happy. This is best illustrated by the narrator's reaction to reading Jean-Christophe. The narrator takes from the novel that individuals who challenge the world are good and noble, and that staying alive to challenge the world is of the utmost importance. This point of view gives the narrator the courage to arrange the abortion for the Little Seamstress. Forbidden literature, then, is shown to lead directly to forbidden action.

Throughout the novel, characters use works of literature as currency. The narrator and Luo trade physical labor for one of Four-Eyes' novels, and later, the narrator trades two novels to the gynecologist to pay for the Little Seamstress' illegal abortion. By ascribing this kind of value to literature, the novel shows that literature isn't just powerful in an emotional sense; it has real material value. Notably, literature as currency works in the narrator's society because banning them has made them all the more valuable to those who don't completely buy into the Party ideals. Essentially, by attempting to disempower the population by depriving them of this literature, the government gave those who do have access to the literature a great deal of power.

The novel itself contradicts the narrator's initial claim that storytelling, while a charming talent, isn't one that's truly valued or worthwhile in communist China; the government's insistence on censorship makes that very clear from the beginning. In addition, the village headman obviously values storytelling as entertainment; he's willing to pay Luo and the narrator for four days' worth of manual labor so they can instead go see and recite films for the village. Similarly, Luo and the narrator collect the miller's folk songs for Four-Eyes so that he can land a job at a revolutionary journal. Finally, because the novel is based on the author's actual experiences of re-education, the novel itself stands as proof that storytelling and literature, particularly literature that challenges censorship and gives voice to individuals, is worthwhile and powerful.

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Storytelling, Censorship, and Power Quotes in Balzac and the Little Chinese Seamstress

Below you will find the important quotes in Balzac and the Little Chinese Seamstress related to the theme of Storytelling, Censorship, and Power.

Part 1, Chapter 1 Quotes

The peasants' faces, so grim a moment before, softened under the influence of Mozart's limpid music like parched earth under a shower, and then, in the dancing light of the oil lamp, they blurred into one.

Related Characters: The Narrator (speaker), Luo, The Village Headman
Page Number and Citation: 6
Explanation and Analysis:
The narrator is allowed to keep his violin and play for the villagers after Luo convinces the headman that the violin itself isn't a "bourgeois toy." As he plays, the narrator notes that, despite the government's insistence that all western music is evil, the opposite is actually true. The western music, though Luo has renamed it to pay homage to Chairman Mao, has a positive effect on the peasants. They find it pleasant, which begins to suggest that music (and artistic pursuits in general) can be universally appealing. Early on in the novel, this casts doubt on the integrity of Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor

Part 1, Chapter 2 Quotes

The sheer audacity of our trick did a lot to temper our resentment against the former opium growers who, now that they had been converted into "poor peasants" by the communist regime, were in charge of our re-education.

Related Characters: The Narrator (speaker), Luo, The Village Headman
Related Symbols: Luo's Alarm Clock
Page Number and Citation: 15
Explanation and Analysis:
The narrator describes the effects of turning Luo's alarm clock forwards or backwards to suit their needs or desires on any given day. First, the trick itself gives Luo and the narrator a degree of power over their lives, as they can essentially control when their day starts and ends. This also certainly gives them a sense of superiority over the headman in particular; this is the headman's first experience with a clock, and he doesn't possess a clock of his own to check Luo's meddling. The language that the narrator uses to describe the peasants continues to build the Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam offici

The only thing Luo was really good at was telling stories. A pleasing talent to be sure, but a marginal one, with little future in it. Modern man has moved beyond the age of the Thousand-and-One-Nights, and modern societies everywhere, whether socialist or capitalist, have done away with the old storytellers—more's the pity.

Related Characters: The Narrator (speaker), The Village Headman, Luo
Page Number and Citation: 18
Explanation and Analysis:
The narrator explains to the reader that he might be able to return to the city because he can play the violin, while Luo is likely doomed to spend his life on the mountain because his only talent is storytelling. Though the narrator's tone indicates a sadness that storytellers aren't valued in the modern world, the novel itself refutes the idea that storytellers aren't valuable. The novel's very structure elevates the narrator to a high status, as the reader is asked to take his story at his word. Throughout the novel too, Luo's stories and his skill at telling them Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessita

Part 2, Chapter 1 Quotes

All this talk of literature was getting me down. We had been so unlucky. By the time we had finally learnt to read properly, there had been nothing left for us to read. For years the "Western literature" sections of the bookshops were devoted to the complete works of the Albanian Communist leader Enver Hoxha...

Related Characters: The Narrator (speaker), Luo, Four-Eyes
Page Number and Citation: 51
Explanation and Analysis:
Luo and the narrator believe that Four-Eyes has a suitcase full of forbidden books. They spend their time wondering what particular books might be in the suitcase, though it's a depressing conversation. The narrator's explanation shows just how tightly Mao’s regime sought to control the existence of literature. In addition, the statement that there was "nothing left" to read shows how poorly the narrator thinks of Communism—he thinks that literature by communist leaders, even if they are Western, isn't worth reading. This continues to suggest that, though the Cultural Revolution was supposed to unite China, it's obviously not working the Dolorem et quae. Exercitationem no

Just as your parents and mine always dreamed that we'd be doctors like them, Four-Eyes's parents probably wanted their son to be a writer. They must have thought it would be good for him to read books, even if he had to do so in secret.

Related Characters: Luo (speaker), The Narrator, Four-Eyes, The Poetess
Page Number and Citation: 52
Explanation and Analysis:
Luo and the narrator discuss why Four-Eyes' parents trusted him to keep a suitcase of banned books safe. This begins to hint at the power the Cultural Revolution ascribes to literature, as well as the danger of literature—to both the aims of the regime, and to individuals who possess forbidden books. While the novel suggests that literature can be powerful in any time or place, it’s particularly powerful at this moment in China because of its scarcity. Furthermore, Four-Eyes' parents evidently feel so strongly about literature and intellectual pursuits, they're willing to risk their own welfare as well as that Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Opti

Part 2, Chapter 2 Quotes

In spite of my complete ignorance of that distant land called France (I had heard Napoleon mentioned by my father a few times, that was all), Ursule's story rang as true as if it had been about my neighbors.

Related Characters: The Narrator (speaker)
Page Number and Citation: 57
Explanation and Analysis:
The narrator reads Balzac's novel Ursule Mirouët and finds it to be extremely relatable, despite the fact that the time and place of the novel are entirely foreign to the narrator. Again, this undermines the goals of the Mao regime, as the narrator's discovery shows that the rest of the world isn't evil; rather, stories are universal. This shows the power of literature. As the narrator reads, his worldview widens, bringing about his coming of age. Part of growing up is discovering new ideas and perspectives, and particularly during this time, the narrator's coming of age is tied directly to Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae volupt

Part 2, Chapter 3 Quotes

"This fellow Balzac is a wizard," he went on. "He touched the head of the mountain girl with an invisible finger, and she was transformed ... She ended up putting your wretched coat on (which looked very good on her, I must say). She said having Balzac's words next to her skin made her feel good, and also more intelligent."

Related Characters: Luo (speaker), The Narrator
Page Number and Citation: 62
Explanation and Analysis:
Luo tells the narrator about his experience reading an excerpt from Ursule Mirouët to the Little Seamstress. With this, Luo acknowledges fully the power of literature. Importantly, the power comes from literature's ability to appeal to a variety of different people from different educational backgrounds; in this case, it appeals to the Little Seamstress, who has very little education or experience outside of her village. The Little Seamstress also acknowledges the power of literature. In particular, it makes her feel more intelligent, which suggests that she believes that without access to education and literature specifically, people are unintelligent. It's unclear Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusan

Part 2, Chapter 4 Quotes

What this gentleman is looking for is precisely that: the authentic, robustly primitive words of ancient ditties.

Related Characters: Luo (speaker), The Narrator, The Miller, Four-Eyes
Page Number and Citation: 68
Explanation and Analysis:
Luo explains to the miller that the disguised narrator is looking for authentic folk songs that support the ideas espoused by the revolutionary government. The language used to describe these "ancient ditties" and the power ascribed to them is humorous in light of what the folk songs actually are: raunchy, and decidedly not what the government wants to hear from its "noble peasants." This suggests that the government, and particularly the literary journal that hires Four-Eyes, is trying to show that the peasants are fully in support of the Cultural Revolution. The literary journal seems to believe that the ideas Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Expli

Part 2, Chapter 6 Quotes

But I shouldn't let it worry you too much. Right now, ignorance is in fashion, but one day the need for good doctors will be recognized once more. Besides, Chairman Mao is bound to need your father's services again.

Related Characters: The Poetess (speaker), The Narrator, Luo, The Dentist, Four-Eyes
Page Number and Citation: 86
Explanation and Analysis:
As the poetess resumes her ascent of the mountain, she tells the narrator (who is pretending to be Luo) that the fervor of the Revolution will pass. This suggests that the repression of culture and intellectualism is a phase, not a lasting state of affairs, which continues to break down the government's idealistic goal of having all its people believe fully in the Revolution. It also suggests that healthcare, like literature, is a universal need or desire; it's not something that the government can deny its people access to forever. In an overarching way, the poetess' statement also shows that Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non invent

Part 2, Chapter 7 Quotes

He shut the suitcase again and, resting one hand on the lid like a Christian taking a solemn oath, he declared: "With these books I shall transform the Little Seamstress. She'll never be a simple mountain girl again."

Related Characters: Luo (speaker), The Narrator, The Little Seamstress, Four-Eyes
Page Number and Citation: 100
Explanation and Analysis:
Luo and the narrator decide to steal the entire suitcase of books rather than just a few, and Luo voices his plan to educate the Little Seamstress. Though at this point Luo seems fully committed to his goal, he grossly underestimates the consequences of re-educating the Little Seamstress with western literature. Luo later finds the Little Seamstress's transformation attractive and positive, but it never occurrs to him that she might do things with her education that he cannot control. Interestingly, this is true of Luo and the narrator's re-education, as well as that of the Little Seamstress. Though the narrator Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore

Part 3, Chapter 1 Quotes

But Jean-Christophe, with his fierce individualism utterly untainted by malice, was a salutary revelation. Without him I would never have understood the splendor of taking free and independent action as an individual.

Related Characters: The Narrator (speaker)
Page Number and Citation: 110
Explanation and Analysis:
The narrator reads the novel Jean-Christophe by Romain Rollande, which introduces him to this decidedly not-Communist idea of independent action. This discovery stands as one of the most galvanizing moments of the narrator's coming of age, as it's at this point that the narrator begins to develop his own personal guiding philosophy. By implying that a true marker of maturity is independence, the author indicates that communal actions and beliefs are childish and immature. Interestingly, though the narrator does take individual action in the remainder of the novel, he only does so in the service of others. He arranges the Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim ne

Part 3, Chapter 2 Quotes

It would evidently take more than a political regime, more than dire poverty to stop a woman from wanting to be well dressed: it was a desire as old as the world, as old as the desire for children.

Related Characters: The Narrator (speaker), Luo, The Tailor
Page Number and Citation: 122
Explanation and Analysis:
When the tailor comes to Luo and the narrator's village, he asks to stay with Luo and the narrator. As such, the boys get to see the inner workings of a tailor's workshop and watch the women dream about their new wardrobes. This realization continues the novel's overarching project of showing how many things, like literature and the desire for clothing, are universal ideas that aren't necessarily altered by political differences or socioeconomic status. Rather, these universal things transcend a person's place in the world. This also continues to build up to the Little Seamstress's sudden departure from the mountain. Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor a

Part 3, Chapter 7 Quotes

I couldn't resist taking slight liberties, adding bits here and there by way of a personal touch to make the story more interesting to her. When I felt good old Balzac was running out of steam I would contribute little inventions of my own, or even insert whole scenes from another novel.

Related Characters: The Narrator (speaker), The Little Seamstress
Page Number and Citation: 150
Explanation and Analysis:
The narrator reads to the Little Seamstress in Luo's absence, altering the tales as he sees fit. This can be read in several ways. First, it demonstrates that the narrator is achieving mastery in storytelling, as he's able to not just identify which parts of a novel might be boring, but also to invent reasonable alternatives for Balzac's plotlines. This shows the effect of the narrator's own education in western literature, and shows that he himself is becoming a greater storyteller than he ever gave himself credit for. This process can also be seen as a way for the narrator Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus volupta

It was not long before I took it upon myself, out of a sense of courtesy and respect for womanhood that I had learned from Balzac, to relieve the Little Seamstress of her laundering duties...

Related Characters: The Narrator (speaker), The Little Seamstress
Page Number and Citation: 151
Explanation and Analysis:
As the narrator spends more time reading Balzac novels to the Little Seamstress, he begins to gladly take on more of her household duties. When the narrator mentions the "courtesy and respect for womanhood," it shows how the narrator's exposure to Western literature is teaching him about women, particularly in ways that the Communist government wouldn't find appropriate. It's important to note that the narrator and the reader are fully aware at this point that the narrator is in love with the Little Seamstress. However, notice that the narrator doesn't insert himself as a suitor; he only makes himself her Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde

Part 3, Chapter 8 Quotes

There was nowhere for them to go, for there was no conceivable place where a Romeo and his pregnant Juliet might elude the long arm of the law, nor indeed where they might live the life of Robinson Crusoe attended by a secret agent turned Man Friday.

Related Characters: The Narrator (speaker), The Little Seamstress, Luo
Page Number and Citation: 160
Explanation and Analysis:
After describing the challenges that Luo and the Little Seamstress would face should the Little Seamstress decide to continue her pregnancy, the narrator declares in this very romantic way that there's no way for them to possibly do so. This continues to illustrate the effect of literature on the narrator. Here, he's not just turning the unintended pregnancy into a romantic mishap; he's using actual literary characters to make sense of the situation. The narrator's casting of himself as Man Friday again stands as an instance in which the narrator subsumes his own existence for that of others. Here, he Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut o

It was insane, but the bourgeois intellectuals upon which the Communists had inflicted so much hardship were no less morally strict than their persecutors.

Related Characters: The Narrator (speaker), The Little Seamstress, The Gynecologist
Page Number and Citation: 164
Explanation and Analysis:
The narrator thinks that if his own father were to find him looking for an abortion for the Little Seamstress, he'd immediately disown the narrator without asking questions. With this realization, the narrator acknowledges that some of the ideals espoused by the Communist regime are shared by those on the other side. This shows that the novel's belief in universality extends to moral arenas; literature and music aren't the only things that are universal, and some universal things can be oppressive rather than emancipatory. This is a moment in which the narrator gains a more nuanced view of the world, Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delec

Part 3, Chapter 9 Quotes

I wondered what was making me chase Luo across this treacherous mountain slope? Was it friendship? Was it affection for his girlfriend? Or was I merely an onlooker anxious not to miss the ending of a drama?

Related Characters: The Narrator (speaker), The Little Seamstress, Luo
Page Number and Citation: 182
Explanation and Analysis:
The narrator chases after Luo, who is racing down the mountain after the Little Seamstress. This is the first time that the narrator questions the reasoning behind his loyalty to his friend. Though the narrator has a natural tendency to be loyal and follow those around him, as he grows up and matures he begins to question this habit. Questioning it, and then demanding moments of independence, is one way that the narrator comes of age. The narrator also shows that he's aware that he's romanticizing Luo and the Little Seamstress's relationship. His exposure to literature changes the way he Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor