As a classic, Monkey King: Journey to the West is quite ancient. In line with pre-modern literature, an array of conservative perspectives is presented. The story of Monkey King, as translated by Julia Lovell, is a cultural criticism that examines the conflict between individualism and ancestral expectations and challenges customary Confucian norms. Monkey King’s journey westward transformed into a metaphorical arena where the longing for autonomy and unwavering loyalty duke it out to be on top while the audience can dive into characters like Scorpion Demonness and Princess Iron Fan to examine gender roles. The literary work offers an interesting reflection on just how complex ancient Chinese society was through an analysis of gender relations and traditional beliefs in general, inviting readers to examine and reevaluate standards that were once accepted.

Monkey King’s journey through the celestial realms is marked by a delicate interplay between his actions and the expectations set by the immortals. “”I hereby appoint you Imperial Groom,” announced the Jade Emperor. The assembled courtiers chorused their thanks, while Monkey whooped his. The emperor then dispatched the Star Spirit of Jupiter to escort Monkey to the stables to take up his new appointment” (Lovell, 37). This significant occurrence highlights a time when the Monkey King’s satisfaction coincides with the immortal’s demands.  Despite being frequently referred to as a demon and being known for his mischievous behavior, at his core he just wanted to have fun and bring others a sense of fulfillment  The courtiers thank him, and Monkey, being the sociable person that he is, celebrates wholeheartedly.  One of the absolute most significant events in his story to date was being acknowledged for his strength and maturity and being given an honor in heaven. Knowing anything about Monkey King, readers know that he is not the type to hold down a job like this one but against quick expectations, he does. As an imperial groomer, Monkey King was working like a dog, proactively keeping all a thousand horses in excellent condition. 

However, conflicts between Monkey King’s individualism and the immortals’ expectations soon surface after Monkey King is told that he is essentially at the bottom of the barrel. He does not have a grade in the civil service(Lovell, 38), meaning that this entire time he has been made fun of instead of appreciated which upsets him like nothing else could. He quite enjoyed his job but it was the fact that he was unappreciated that truly set him off. In a society where the young work quietly and just take whatever treatment they are given, Monkey King stands out as he likes getting a little gold star of appreciation. “He made me his groom– can you believe it? It was fun to begin with, but when my colleagues told me how low-ranking the job was, I got so mad I smashed up the lousy banquet” (Lovell, 39). His rebellious spirit, reflected in the decision to smash up a banquet, exposes the clash between his inherent individualism and the societal norms imposed by the immortals. This tension sets the stage for a nuanced exploration of Monkey King’s struggle to reconcile his unbridled nature with the expectations and norms dictated by the celestial hierarchy, adding layers of complexity to his character and the unfolding narrative.

Diving into the Monkey King’s rebellion from a perspective using the Confucian idea of filial piety reveals a nuanced facet of the Monkey King’s character. Fial piety emphasizes the unwavering loyalty and respect that children must give to their parents and ancestors, it is the foundation of traditional Chinese beliefs. Monkey King defies this norm with his adventurous spirit as he chooses to be free and think for himself, as opposed to taking orders from Heaven. “Monkey King represents the oppressed poor and hardworking people’s hopes to get rid of darkness and evil as well as to embrace a bright and happy life” (Wang qtd. in Yang, 126). In his time standing for personal independence, he goes well beyond the already established bounds of ancestral servanthood and worship, challenging existing hierarchies found on both Heaven and Earth. Wang’s claim that Monkey King represents the hopes of the common man reflects the revolutionary spirit of his uprising, symbolizing not only a fight for individual freedom but also a much more general social struggle between the oppressed and their oppressors. In this way, Monkey King challenges the core ideas of Confucian ethics, becoming a symbol of resiliency and an illuminating beacon of hope for the people who have a desire to rebel against the oppressive guidelines of society. 

Scorpion Demonness emerges as a compelling character challenging and subverting traditional gender roles. Amidst a world where women are predominantly depicted as timid or victims, Scorpion Demonness stands out, defying this misogynistic archetype and falling into another. The prevalent theme of equating female purity with societal virtue is portrayed heavily in her vilification, where her sexuality becomes a focal point of her perceived evil. Tripitaka’s fear of losing his virginity for the consequences that would follow underlines deeply ingrained societal values, as expressed by him, “What if the queen forces me to sleep with her? I would lose both my chastity and my masculine yang essence” (Lovell, 268). By fornicating with Scorpion Demmonness, his purity would be tainted as their energies combined, polluting his masculine energies with her dark and unholy feminine ones. In contrast to Tripitaka’s timid and fearful nature, Scorpion Demonness wields formidable power that even Buddha fears, challenging the narrative that links female strength with underhanded methods in the way that poison is often equated with both feminity and cowardice. “Young women, on the other hand, are considered as pollution and connected with murder in that village. The disgrace of sexual behaviors reflected the view of Chinese society of women who had no right to choose their lovers” (Chen, 2015). Chen’s observation sheds light on broader societal constraints imposed on women’s autonomy. The sex-positivity movement had not yet reached this corner of the earth, or any corner for that matter, so the idea of a “maiden” was still upheld. Women like Scorpion Demonness were seen as comparable to the Western Witch in the way that sex summons evil.

The Scorpion Demonness further defies gender norms by wielding a spear, historically associated with male warriors, challenging the notion that women are inherently timid as she is a strong and proud warrior. The transformative encounter with Orionis, is depicted in Scorpion Demonness’ final moments, “Orionis stood waiting in his true form: a seven-foot, double-combed rooster. He crowed once and the fiend became a lute-sized scorpion. He crowed again and the scorpion collapsed and died” (Lovell, 279). All of her time in the novel was spent showing how impossible it is to defeat her, as with a single stab of her poisonous spear her opponents are in immense pain, so the author had to create a brand new character to stop her. This new character Orionis, basically turned into a large cock to defeat the undefeated female villain. While Scorpion Demonness represented a bit of a weird turn in how women are represented in popular media as she is both powerful but lustful and a demon, at the end of the day she was still defeated by masculinity itself.

The Yin and Yang symbol, familiar to Westerners as a representation of perfect balance, takes on a more nuanced significance in the context of Taoism. In the the critically acclaimed animated film Kung Fu Panda, the symbol is simplified for audiences seeing it for the first time, it is explained that the white half represents all that is good but has a trace of evil inside, and the black half is that all evil has a trace of good inside. However, a deeper understanding emerges when considering the Taoist perspective on gender differences as expressed in the Yin and Yang symbol. “In China, the concept of gender difference appears visually in the male/female aspects of the yin/yang Taoist symbol. The dark swirl within the symbol’s circle is the passive, yielding, feminine yin; the light swirl the active, aggressive, male yang” (qtd. in Chen, 2015). This intricate interplay between passive, yielding femininity and active, aggressive masculinity is reflected in the allocation of power in Taoist narratives. Notably, the celestial hierarchy is dominated by the highest male authorities, such as dragons like the Jade Emperor. Conversely, powerful women, except for Guan Yin(who is a virgin, therefore pure), are predominantly depicted as demons. This gendered dynamic prompts a deeper examination of how male and female characters within Taoism adhere to or challenge traditional gender roles, revealing the complex coexistence between philosophical symbolism and societal expectations. Monkey King, depicting this challenge, invites readers to examine certain biases they made hold about gender differences. It is one thing to keep biases internal, but consuming media portraying them allows readers to contemplate if they truly agree with what is being depicted or if those biases are born from their environment and upbringing.

The story weaves a fascinating exploration of the interplay between immortality and gender, where ancestral expectations intersect with traditional gender roles. Princess Iron Fan initially emerges as a seemingly benevolent ruler perhaps even some sort of goddess, challenging stereotypes by employing her magical abilities for the betterment of her community. As beautifully described by Lovell, “She’s an immortal with a magic palm-leaf fan. One wave of it puts the fire out, a second brings a breeze, a third rain. That brief respite allows us to grow crops. Otherwise, nothing would grow around here– not even a blade of grass” (281). This depiction defies conventional gender norms, presenting a powerful and resourceful female figure positively contributing to the welfare of her people. While she is a woman using magic, she does not fit into the Western witch archetype as she was not described as ugly or otherwise malevolent, yet.

However, the story takes a dramatic turn when it is revealed that Princess Iron Fan is actually a demon, undoing the benevolence built around her character. This revelation shatters the initially constructed perception, destroying the idea of having a woman in power and illustrating the complexity of balancing and resisting traditional values within the context of immortality. The following reveal that the real Iron fan belongs to a male demon, King Bull Demon, introduces a new plot that unfortunately aligns with more traditional gender norms. “She duped you with a fake. If you want the real one, you’ll have to seek out King Bull Demon” (Lovell, 289). The power struggle between the strong female ruler and the later disclosure of her demonic nature is a reflection of the complex interplay between personal agency and societal norms in the context of immortality as well as associated cultural backgrounds.

To summarize, “Monkey King: Journey to the West” provides a cultural critique rooted in ancient and outdated perspectives, challenging Confucian norms and delving into the gender roles prevalent in society. Readers navigate the delicate interaction between Monkey King’s actions and immortal expectations, using moments of alignment and disagreement. His disagreement against the idea of filial piety present in Confucism echoes the thoughts of hope for the subservient and otherwise oppressed people, challenging societal norms. The portrayal of Scorpion Demonness adds complexity to the exploration of gender roles, questioning societal biases and traditional beliefs. The Yin and Yang symbol in Taoism further enriches the cultural commentary present in the text, revealing nuanced interplays between passive femininity and active masculinity. Monkey King’s challenge to these norms prompts readers to reflect on biases and contemplate the origin of gender-related beliefs. Overall, Journey to the West stands as a timeless exploration of Chinese society, tradition, and the enduring themes that resonate across many cultures. The novel invites readers to critically reconsider accepted standards, offering a rich source for cultural analysis and reflection.

Work Cited

Chen, Anrong. “Buddhism and Women’s Role in the Journey to the West.” Anrchen, 17 Mar. 2015, anrchen.wordpress.com/buddhism-and-womens-role-in-the-journey-to-the-west/.

Wu, Cheng’en. Monkey King: Journey to the West. Translated by Julia Lovell, Penguin Books, 2022. 

Yang, Qing. “Cross-Cultural Variation: Chinese Monkey King Legend as a Trickster in America.” TandfOnline, 4 Dec. 2019, www.tandfonline.com/doi/full/10.1080/25723618.2019.1696264.