淺析毛姆《面紗》中的雙重中國(guó)形象

頁(yè)1IntroductionWilliamSomersetMaughamisafavorableEnglishwriterinthe20thcentury.Intheearly20thcentury,hefollowedthetraditionofrealisminthe1900s,impactedbytheFrenchnaturalism,andwasgoodatexaminingandexpressinglifewithnaturalism.MostnotableforhisworkonInternationalSubjectsisWilliamSomersetMaugham,whowritesabouttheEnglishcoloniesandtheirnaturallandscapes,mostofwhichareexotic.ThereasonwhyWilliamSomersetMaugham’sworkshavebeenwidelyspreadandpraisedisthatheisgoodatwritingthedistantandHeterogeneousOrientalCulturefromtheperspectiveofpotentialreaders’expectation,tosatisfypeople’scuriosityaboutforeignlands,hisworksarefamousfortheirexoticatmosphere.Hisworksarenotedfortheirexoticism.Heisgoodattellingwell-knownstoriesinforeignenvironments.Hehadmanyadmirersandadmirersamonghisfellowwriters,fromVirginiaWoolftoGabrielJosédelaConcordiaGarciaMarquezinLatinAmerica.Theycalledhim“themostinterestingandtalentedlivingBritishshort-storywriteroftheserioustype.”（VictorThorntonPritchett）“Awriterofgreatdedication.”（GrahamGreene）“first-rateprofessionalwriter.”（Elizabeth

Bowen）“Theonlylivingmasterofart,amancanlearnsomethingusefulunderhistutelage”（EvelynWaugh）George,whotookadifferentviewoflifefromMaugham’s,wasalsosurprisedtosay:“ThegreatestinfluenceIhavehadonmodernwriterswasSamosetWilliamSomersetMaugham,andIadmirehisabilitytospeakhismindandtellhisstorieswithoutanypretense.”（GeorgeOrwell）.UnderhisresearchconcerningtheOrient,mostChineseacademicianbelievethathefinishedhiscriticismofEuropeansocietybyconstructingtheforeignothers.However,asaWesternwriterlivingunderthebackgroundofWesternimperialism,whenhewroteabouttheeast,hecompletedtheconstructionoftheempireonthelevelofliteraryimaginationwiththebeliefandfeelingsofempire,theconceptofculturalhegemonythatWesterncultureissuperiortoEasterncultureisconstantlyreaffirmed.TakinghisclassicworkThePaintedVeilasanexample,thisthemeanalyzesWilliamSomersetMaugham’sdualisticdescriptionofChinesecultureandWesternculturefromtheperspectiveofEdwardSaid’sorientalism,exposingWilliamSomersetMaugham’sdeepculturalsuperioritycomplex,thisthemeistoexposetheprejudiceandstereotypesoftheeastamongWesterners.Intoday’ssociety,therearemanyphenomenaofworshippingforeigncountries.PeoplecelebrateWesternfestivalsandbelieveinWesternreligionsandsoon.Inordertoresistthissituation,ItakeThePaintedVeilofWilliamSomersetMaugham,themostpopularBritishwriterintheWest,asanexample,anddiscusstheprejudiceandthispaperdiscussestheprejudiceandaversionofWesternerstotheeastinthenovelfromthreeaspects.Therefore,weshouldlookcriticallyatWesternculture,notworshipforeigncountries,andcorrectlyunderstandourownnationalculture,takeitsessenceanddiscarditsdross,andstrengthenourownculturalpropagandatoenabletheworldtohaveamorecomprehensiveandprofoundunderstandingofChina,promotingequalexchangeofculturesandprotectingculturaldiversity.Setinthe1920sinHongKong,China,andasmalllakeinmainlandChina,thenoveltellsthestoryoftheheroine,Kitty,who,becauseofhergoodlooks,wantstomarrywellintosocietyandtoavoidbecominganoldmaid,sheacceptedthemarriageproposalofherreclusivedoctor,Walter,andleftLondon’sGaudy,emptysocialcirclewithhimtoserveinthemysteriouseasterncolony——HongKong.InHongKong,dissatisfiedandboredwithhermarriedlife,Kittybeganaquietaffairwithherheartthrob,HongKongAssistantChiefSecretaryCharlesTownsend.WhenWalterdiscoveredhiswife’sinfidelity,hefranticallybeganhisterriblerevengeplan,andKittyhadtotravelwithhimtoXiangtan,mainlandofChina,toquellacholeraepidemicthatwasragingatthetime.Kittyisforcedtotravelwithherinthefaceofafallingoutbetweenlovers,butinthefaceofabeautifulanddangerousforeignworld,KittyexperiencesdisillusionmentanddeathasshestrugglesthroughtheMaelstromoflove,betrayalanddeath,throughthegiftofthought,KittyfinallyliftedThePaintedVeiloverherthelifebeforehereyesandembarkedontheroadofspiritualgrowthwithoutregret.Thisarticlewilltake“orientalism”asthetheoreticalbackgroundtoanalyzetheChinesecultureandtheChineseimageintheeyesofforeigners.First,itillustratestheWesternprejudiceagainstChinarepresentedbyWilliamSomersetMaugham,whichisreflectedintheauthor’sdescriptionofthecharacters,theenvironment,andtheimpressionofChina.Firstofall,themainfocusofthecharacterdescriptionisonthebottomofthelaboringpeople,thesepeoplearegenerallycharacterizedbythepoorpeoplewithouteducationorevenfoodcan’tafford.Secondly,thedescriptionoftheexoticenvironmentmainlyfocusesontheplague-ravagedMei-Tan-FumansionandtheManchus.Finally,itisforeigners‘stereotypicalviewofChinaasabackward,sufferingandbarbaroussociety.AndthenisdevotedtotheanalysisofWilliamSomersetMaugham’sconstructionofChinesecultureastheother.Theyarepovertyofphysicalcultureresources,theweaknessofscientificknowledge,theChineseinneedofrescueandmarginalized.Thirdly,aimstoanalyzeMaugham’ssenseofculturalsuperiority.TheyarethewesternredemptionofChinaandtheinferiorityofChineseculture.Tosumup,WilliamSomersetMaughamconstructedChinesecultureasaninferiorandinneedofsalvation,thus,itisverifiedthatthewesterncultureshouldbeinthedominantpositionintheeasternandWesterncultures.

2Prejudice

against

China2.1HostiletotheUnderclassFirstofall,wehavetoadmitthatWilliamSomersetMaughamcamefromamoderncivilizationwhenhewasinprimaryschool,“TheBritishempirewasatitsZenith...thesmallBritishIsleswereabletogovernavastempire,avirtuewhich,ofcourse,inaschoolofWilliamSomersetMaugham’skind,wastobeinculcatedandpraised.”Hewasinevitablyinfluencedbytheideaofracialsuperiority,fromthispointofview,WilliamSomersetMaugham’scondescensionanddisdainforthebackwardstateofChinawereinevitable,andprejudicewasaninstinctthatcouldnotbedismissedfromtheperspectiveofaracethathadbeentaughttothinkofitselfasNoble.MostofthedescriptionsofChinesecharactersinthenovelfocusonthelow-classChineselaboringpeople,suchasAntiqueShopOwnersandClerks,Sedanbearers,servants,beggars…theantiqueshop,thebossandthewaiterarethefirstChinesecharacterstoappearinthenovel.Kittywenttotheantiqueshopfora“privatemeeting”,andbeforeshewentupstairsshesawtheshopowner,a“l(fā)ittleman”,alsoknownasthe“OrientalMan”,givehera“slysmile.”

Theshopownerseemstoseethroughit,butit’salsokindofcreepy.Inaddition,thedescriptionofthesedanbearersmentionsthatthey“remainedsilentforalongtime.”Thebodylanguageofthelitterbearersis“gesturingtogetKitty’sattention”,thelanguageis“reallymysteriousandfrightening”,andthedescriptionofthebeggarismorestraightforward:whenthelitterstopsatthegateofthemonastery,abeggarrosefromthegroundandaskedKittyforsomething.Hewasinrags,asifhehadcrawledthroughaDungheap.Throughtheholesinhisdressshesawthathisskinwasroughandunsightly,asblackasgoat’sskin,hisfeetbareandthin.Hishairwasunkempt,hischeekssunkenintoanest,hiseyeswildandsavagelikethefaceofamadman.AndKitty’sreactionisalsoatypicalwesternreaction.InthefaceofAntiqueShopOwnersandAssociates,Kittyfoundthemobsceneandabhorrent,inthefaceofthesedanchairhusband,theythinkheislikeaprimitiveman,coarsegrainanduncivilized,inthefaceofbeggars,kittywasfullofwesterncondescension.“Shegavethebeggarsomesmallmoneywithtremblinghands”andlookedfrightened.Fromtheseaccounts,itappearsthatKittysawbeggarsassymbolsofcholeraandprimitivemadness,andthatgivingsmallsumsofmoneyseemedtobeasuperiorformofalmsgiving.AsarepresentativeofWesterncivilization,KittywasfilledwithamixtureofhostilityandfeartowardsEasternculture.Chinaafterbeingcolonizedistherepresentativesofindulgence,idlenessanddepravity.Theyareuncivilized,fullofignoranceandignorance,evenmoreinWesternliteraturedirectlycalledtheChinesepeoplewith“yellowperil”,whichmeanstheharmtotheentirehumansocietyoftherace.Inthistermfullofracialdiscrimination,wecanseethattheimageofChinainBritishcultureandeveninWesterncultureissimilartothesadclown.Thesameistrue,forexample,ofWilliamSomersetMaugham’sdepictionofChinainThePaintedVeilinwhichhedescribesChinesepeoplewith“flatnoses”andrickshawpullerswith“pointedlanguage”,evenbabiesare“strangeanimals”.SuchadescriptionisundoubtedlytheChinesePeople’simageofdistortionandNullification,fullofdenialoftheChineseanddiscrimination.Thisnegationisbasedontheinequalityofthetwosidesonthelevelofforceandeconomy.WesternwritersbegantodevalueandrejecttheimageofChinaunscrupulously,thusimaginingandfabricatingtheimageofChinaintheirliterarycreation.Thus,byanalyzingWilliamSomersetMaugham’sdescriptionoftheunderclass,wecanexplorethewesternviewofChinainthe1990s,thedisparitybetwixtChinesecultureandWesterncultureshowsthatWesternersarefullofcontemptforChinesepeopleandWesternprejudiceagainstChinaandwesterners’senseofself-superiority.2.2AMysteriousandTerrifyingPlaceThroughtheeyesofthehero,WilliamSomersetMaughamrevealsacornerofThePaintedVeildescribingamysteriousandterrifyingforeignland.Thearchwayshesawseemedstrangelyresurrected,wavingitsarmsatherwithitsteethandgivingherstrangelaughter.Therearemanymoresuchdescriptions:“Thebungalowstoodhalfwaydownasteephillandfromherwindowshesawthenarrowriverbelowherandopposite,thecity.Thedawnhadjustbrokenandfromtheriverraisedawhitemistshroudingthejunksthatlaymooredclosetooneanotherlikepeasinapod.Therewerehundredsofthem,andtheyweresilent,mysteriousinthatghostlylight,andyouhadafeelingthattheircrewslayunderanenchantment,foritseemedthatitwasnotsleep,butsomethingstrangeandterrible,thatheldthemsostillandmute.”(p154)Thistextuseskitty’spointofview,creatinganatmosphereofstrangenessandfear.Thisstrangeplaceisnotonlymysterious,butalsoterrifying;theriverisshroudedinawhitemistthatmakesitimpossibletosee,“ghostlylightandShadow”,theshadowisblooming,flickering,mysterious;Hundredsoflittlesailboatsseemedtobeatthemercyofsomequeeranddreadfulpower.Itisclearthatthemysteryofaforeignlandisnolongertheinspiring“exotic”thatpeopleimagine,butamysteriousplacewhereoutsiderscanbescaredandmakepeopleuneasy.“Butthepeoplearedyinglikeflies”(p95),thecity“l(fā)ikethedevil,highontheothersideoftheriver”(p132),narrowstreets,chaos,cornersfilledwithgarbage,stink,andfromtimetotimeheardcrying.ThereisnodoubtthatChinainKitty’seyeshasbecomeaconfusingandfrightening“darkcenter,”AnotherforeignlandinThePaintedVeilisKitty’sdiscoveryofthecrudenessandsavageryofwesternidealsandbeliefs.EspeciallywhenKittyseestheManchuPrincess,theancient,mysteriousandelusiveimageoftheEastbecomescleartoherfromherelegantgifts,“Nowsheseemedonasuddentohaveaninklingofsomethingremoteandmysterious.HerewastheEast,immemorial,dark,andinscrutable.ThebeliefsandtheidealsoftheWestseemedcrudebesideidealsandbeliefsofwhichinthisexquisitecreaturesheseemedtocatchafugitiveglimpse.Herewasadifferentlife,livedonadifferentplane”(p278).WilliamSomersetMaugham’snovelsarefilledwithadichotomybetweentheexoticandthewild,aworldoficeandfire.Andinthispolarization,itshowsthesplitperceptionoftheimageofChinaintheWest.Ontheonehand,theimageofChinainancienttimesisregardedastherichmysteriouseast,andontheotherhand,intherealworld,Chinaisabulliedcolony,fullofwildanduncivilizedpeopleandthings.Inessence,theauthorbelievesthatthisisaone-sidedviewoftheimageofChinabyWesternwritersrepresentedbyWilliamSomersetMaughamunderthewestern-centeredthinking.WhetheritisexoticUtopiaorfullofsinisterwilderness,areinfactWesternersfortheimageofChina’sone-sidedunderstanding,orevensubjectiveimagination.ThereasonforthisanomalyisthatWesterners’losstoChinaisself-centered.Therefore,inthedescriptionalsoappeared“l(fā)etmeRub”thesenseofsuperiorityandracialdiscrimination.AfterthefirsthalfofthestruggleandEpiphany,KittywasstruckbythebreadthanddepthofChineseculture.WhenshesawsuchanordinaryintentionasthebattlementsoftheMei-Tan-FuMansion,shefanciedthatitwasafantasticstage.Onthisstage,theManchurianwomenwere“uniquecharacters”.

Theyseemtobeordinary,thestageoftheunknown,buttheyhaveindescribablemeaning,moredescribedas“ancientreligiousritualdancers”(p340),inthecomplexrhythmofthemysteriousmeaning.SuchdescriptionsrevealasenseofstrangenessandRespectforChina’sancienthistory,intheimageoftheManchurianwoman,Kittygainedsomeotherlevelofunderstandingaboutlife,allofwhichcamefromthepoweroftheeasternimageintheexotic.InthisdescriptiontheMiddleEasternfiguresaremysteriousandgreat,theyarethevehiclesofreligion,andthepainanddoubtoftheWesternersrepresentedbyKittybringsaricherunderstandingthereforefromthispointofview,ThePaintedVeilalsocontainsmysteriousdescriptionsoftheeasternimages,whichpartlyreflectWilliamSomersetMaugham’sadmirationfortheeasternreligiousculture.Thus,byanalyzingWilliamSomersetMaugham’sdescriptionofChina’senvironment,wecanexplorethewesternviewofChinainthe1990s,thedisparitybetwixtChinesecultureandWesterncultureshowsthatWesternersarefullofcontemptforChinesepeopleandWesternprejudiceagainstChinaandWesterners'senseofself-superiority.2.3TheStereotype

about

ChinaHistorically,Chinahasbeenarichcountrywith“goldeverywhere”and2000yearsofculture.Therefore,fromthewestern-centeredperspective,itisinevitabletohaveacertain“awe”oreven“fear”towardChineseculture.InThePaintedVeil,forexample,thedescriptionofChineseBuddhistculture,thoughfullofprejudiceandevenblasphemy,stillusestheword“ancientreligion”Inessence,theChinesearestillrepresentativesof“cunning”,andthedescriptionoftheantiqueshopkeeperinThePaintedVeilKittydescribedhimas“abig,ingratiatingsmile”(p11),describedhimas“smokinghiswayupthedimstairs”(p11)eachtime,anddescribedhimasfullof"cunning"feeling,asifwilyandwiseenoughtoseethroughanything,butinKitty’seyes,hewasstill“obnoxious”.Thesedescriptionsreflectthewestern-centricstereotypeof“cunning”inChina’simage.Andbasedonthisview,manyWesternersthinktheChinesearequiteterrible,theyareenoughtoendangerthesurvivaloftheentirewhiteracespace.WilliamSomersetMaugham’sanalysisofChina’simage,basedonaWesterncentricapproach,isrepletewithWesterncentricideologyandutopias.Utopiaisakindofidealdescriptionwithsubjectiveconsciousnesssuperposition,isakindofunfairimaginationcenteredonthewest,fullofsubjectiveassumption.InThePaintedVeil,forexample,KittydescribesChineseorphanswhenshearrivesattheMonastery:“TheMotherSuperiorledthemintoatinyroomontheothersideofthepassage.Onatable,underacloth,therewasasingularwriggling.TheSisterdrewbacktheclothanddisplayedfourtiny,nakedinfants.Theywereveryredandtheymadefunnyrestlessmovementswiththeirarmsandlegs;theirquaintlittleChinesefaceswerescrewedupintostrangegrimaces.Theylookedhardlyhuman;queeranimalsofanunknownspecies,andyettherewassomethingsingularlymovinginthesight.TheMotherSuperiorlookedatthemwithanamusedsmile.”（p197）“scratching”,“l(fā)ookingfun”,and“unlikehumans”and“strange,unknownanimals”don’tseemtofitthedescriptionofahumanbeing,asWilliamSomersetMaughamhimselfputit,hewasdescribing“strangeanimals”.WilliamSomersetMaugham’sdescriptionisbasedsolelyonthedifferencesinappearancebetweentheEastandtheWest,andthusreflectsdiscriminationagainstChina.Inaddition,WilliamSomersetMaugham’senvironmentalportraitofHongKong,China,focusesonaplagueriddendeathriddenhell.Here,filledwithraggedbeggars,abandonedorphans,drugaddictsandthievesreadytorob,theworkingpeopleareanimalswhoonlyspeakthe“sharplanguage”withgestures;theyhavenofeelings,noflesh,justpullwesternersupanddownthetool.Thestreetswerefullofcorpses,andbeforetheyreachedtheirdestinationtherewereterriblegraves,andtheroadswerestrewnwithfallenbamboogrovesandlaborersblockingtheway.InThePaintedVeilWilliamSomersetMaugham’sdescriptionofChina’senvironmentis,sotospeak,biased,describingitasasocietyofbackwardness,miseryandbarbarism.Allthis,ofcourse,isduetothecontrastwithWestern“civilization”.Thus,byanalyzingWilliamSomersetMaugham’sstereotypicaldepictionofChina,wecanexplorethewesternviewofChinainthe1990s,thedisparitybetwixtChinesecultureandWesterncultureshowsthatWesternersarefullofcontemptforChinesepeopleandWesternprejudiceagainstChinaandwesterners’senseofself-superiority.

3OtherCognition

about

Chinese

Culture3.1Poverty

of

Physical

Culture

Resources

First,thedescriptionoflifeanddressofKitty’slover,Charles,inThePaintedVeilreflectshowrichtheWestisinbothspiritandmaterial,andcontraststhematerialandculturalresourcesofChina’spoverty.Forexample,inLifeCharleshadawiderangeofhobbiessuchastennis,Poloandgolfandownedavaluableracinghorse,whicheasilysurpassedanyoneelse.InhisconversationwithKitty,heeludedtothelackofentertainmentfacilitiesinChina,suchastheLondontheatre,theascotracetrack,suggestingpovertyandhungerinChinaatthetime.Deathiseverywhere,andtheseamenitiesareaScheherazadefortheChinesepeople.Inthesuit,Charles’scufflinksandwaistcoatbuttonscamefromCartierJewelers,playingPoloinWhitebreechesandjackbootslikeastarandwearingtennisclotheslikeayoungman.NeverbeforehasthedescriptionofChinesedressbeenasrefinedasinthisnovel,thecontrastbetweenWesternmaterialwealthandChinesematerialpovertyisrevealed.Second,WilliamSomersetMaughamalsocreatedagroupofChinesepeoplelikeoxenandhorses,whichhecalled“camelbeasts”.Inhisdescription,Chinahasnomachinery,stagnation,usedtocarrytheweightoflivingpeopleeverywhereforthesufferingisthebestproof.TheyareeverywhereinWilliamSomersetMaugham’swork,likesoullessWanderers,shuttlingthroughWilliamSomersetMaugham’sstories,neverspeaking,sometimesasrickshawpullers,sometimesasboattrackersgoingupstream,mayalsobetheburdenoftheburdenofthehardshipfororsedanchairbearers.Theywearshabbyclothes,dotheworstjobs,theyhavenoculture,nofeelings,whichisusuallythemostcommonimageheusestodescribeChina.ComparedwithEuropeansofgoodbreedingandbackground,theChineseareinferioreventoanimals.InatimeofplaguewhenmanyfamiliesinChinawereabandoningtheirchildrenortradingthemformoneyinmonasteriestosurvive,hewrotethattheChinesewereoftenmean,treacherousandcruel,andtheyhadnonames,usuallyhasacodename,andis“theyellowrace”.Finally,fivetimesthenoveldepictsKittyassittingatawindowoverlookingasmalltownperchedonasteephillside,lookingoutatariverandthetownontheotherside.Justasdawnwasbreaking,awhitemistroseovertheriver,envelopingthecrowdedsampansthatlookedlikelentils.Therewereonehundreddinghies,silentandmysteriousintheghostlylightandshadow.Itwasasiftheywerenotmooredateaseontheriver,butwereunderthecontrolofsomestrangeandterribleforcethatkeptthemsostill.Thealienlandscapewasnotonlymysterious,butalsoterrifying:Theriver,thewhitemist,andtheSampanswerein“ghostlylightandShadow”theriverwaswreathedinwhitemist,andhundredsofSampanswerepackedtogetherlikelentils,like“underthecontrolofsomestrangeandterriblepower”（p154）.It’slikeaplaceofhorrorsforoutsiders.Alongwiththis,thenarratoroutlinestheplaguesattheMei-Tan-FuMansion,emphasizingthatthehorrorsarenotentirelyimaginary:DeathOccursEverywhere,people“dielikefliesindroves”,andcriesareheardeverywhere,sawthe“raggedcooliescarryingcoffins”hurryingby.AllofitmadeKittyfeelsthatthewholecitywas“ashighasthedevilontheothersideoftheriver”(p154).Whenshecametothecenterofthecity,thisnegativeimagewasnotweakenedbythenarrowingofthedistance,butbecameareality:Thestreetswerenarrowandchaotic,thecornersfilledwithgarbage,thestench,andtheoccasionalcry.Thecombinationofherimaginationandthesenseofbeingtheremadeherfeelasifthecityhadnohistory,asif“suddenlyemergedfromnothingwithamagicwand”(p155).ThereisnodoubtthattherepresentativeofChinainthenovel,theMei-Tan-FuMansion,isseenbyKittyasthepooranddarkcenteroftheEast.Thus,byanalyzingWilliamSomersetMaugham’sdescriptionofChina’spoormaterialandculturalresources,wecanexplorewhatWesternersthoughtofChinainthe1990s,theimparitybetwixtChinesecultureandWesterncultureshowsthatWesternersarefullofcontemptforChinesepeopleandWesternprejudiceagainstChinaandWesterners’senseofself-superiority.3.2The

Weakness

of

Scientific

KnowledgeWilliamSomersetMaughamcametoChinainthe1920sandfinishedThePaintedVeil.Chinahadjustcomeoutoffeudalism,hadbeeninvadedbyEuropeans,hadbeguntoengagewithmodernscience,anditsscientificknowledgewasstillrelevanttoancientChina.WilliamSomersetMaughamsethisnovelThePaintedVeiloftheday,andhisdescriptionofChinesescientificknowledgeisrawandpale.Forexample,thesedanbearersintheveilaredirtyandlowly,andtheyareasignofsocialbackwardness.ToKitty,thesedanbearersspokeinstrangetonguestodeepgutturalsoundsinthedark,amixtureofsecrecyandterror.LanguageseemstobeabarrierbetweenEastandWestCommunicationGap,sedanbearersdifficulttounderstandthebodymovementsanddonotunderstandthewordslikeapes.ThissubliminaldivisionalsoshowsthatinWilliamSomersetMaugham’smindtheeastandtheWestseemtobelongtotwoclassesofcreatures,thelitterbearersrepresentingtheprimitivebackwardrace,dirtyandmysterious.Forexample,China’smeansoftransportationarecooliesedanchairs,Chineserickshaws,andChinesewoodenboats,suchasferries,junks,andhuman-drivensailboats.Thelampswereparaffin,chimneyandlantern,andthewindowsweremadeofricepaper.They'reallancientandprimitive.Duetotheinvasionofwesternforces,China’seconomicbackwardness,politicaloppression,ordinarypeoplearesufferingfromaverybadlivingenvironment,andevenfacetheepidemic.AccordingtoThePaintedVeil,tensofthousandsofpeopledieofcholeraeverydayinaChinesetowncalledMei-Tan-Fu.WilliamSomersetMaughamwassocoldheartedastocomparetheChinesetothefliesonthelipsofhischaractersashewatchedthemdieonebyone.Inthissense,WilliamSomersetMaughamisanunsympatheticobserveroftheChinesePeople’spain.ThenovelsuggeststhattheplagueisspreadingacrossChina’sinterior,withMei-Tan-FuPrefectureperhapstheworsthit.Moreprecisely,thediseasedecimatedthevillagepopulation.ItsseveritycanbeseeninthewordsofWilliamSomersetMaugham’scharacters,InKitty’seyes,theMei-Tan-Fumansionisnolongertherealone,itistheotherMei-Tan-FuMansion,theMei-Tan-FuMansionundertheconstructionoforientalistdiscourse,inthenarrativetext,theMei-Tan-FuMansionisviewedfromKitty’sperspectiveandculturalpsychology.Chinalagsfarbehindthedevelopedwestintermsofbothitsindustryanditseconomy,butWilliamSomersetMaughamneverthoughtoftheprofoundreasonsforthis.Inaddition,TCMcan’tsolvetheepidemic,norcanitsimplytreatoralleviatethecondition.Asthebookshows,Walter’sknowledgeofbacteriologywascrucialtothespreadofthedisease,sotheChineseofficersadmiredandobeyedhim.WhenWaltercontractedtheepidemic,allthearmydoctorscoulddowaswhatWalterhadtaughthim,andChinesemedicinehadnovalue.Chinesemedicinemightcuretheepidemic,butitdidn'tworkforWilliamSomersetMaugham.InWilliamSomersetMaugham’sview,traditionalChinesemedicineispowerlessandlifelessinthefaceoftheepidemic,andtheChineseneedtolearnfromtheWest.Tosumup,thenovelreflectedthelackandweaknessofscientificknowledgeinChinaatthattime.Thus,byanalyzingWilliamSomersetMaugham’sdescriptionofChina’sbackwardandfeeblescientificknowledge,wecanexplorewhatWesternersthoughtofChinainthe1990s,thedisparitybetwixtChinesecultureandWesterncultureshowsthatWesternersarefullofcontemptforChinesepeopleandWesternprejudiceagainstChinaandWesterners’senseofself-superiority.3.3Chinese

in

Need

of

Rescue

and

MarginalizedTheonlyChineseinWilliamSomersetMaugham’snovelisadown-and-outManchuprincesswho,inWaddington’swords,“isalady”.ThroughKitty’seyes,weseeabeautiful,elegant,traditionalChinesewoman,“Heresheis,saidWaddington,andaddedsomethinginChinese.Kittyshookhandswithher.ShewassliminherlongembroideredgownandsomewhattallerthanKitty,usedtotheSouthernpeople,hadexpected.Sheworeajacketofpalegreensilkwithti