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[cjrae]

I don't recognize this plot, but reblogging for exposure. Anyone know what story this is?

hello! can you help me find this book?

it was about a russian messenger man. he was tasked with sending a very important message at the other side of the country. a war of some kind was going on, and the journey was very dangerous. he travelled by train, by horse and by many other means through the siberian mountains

there were two notable background characters that met several times during their travels: two newspapers reporters, one that talked a lot and the other who observed a lot. i think they were french and english respectively

at one point, messenger man has to cross a border. he has a special messenger permit so he has no trouble. while waiting in line, he sees a girl that wants to cross the border too. some problem happens, and the girl isn't allowed to cross. messenger takes pity on this girl and steps up, saying that he's her brother and that she's with her. they both cross the border together, and after thanking him, the girl goes her own way

the main event i remember from the book was that at some point the messenger was captured by the people doing the war, and as punishment, they offered him the most extravagant circus(? performance before blinding him by raising an incandescent sword up to his eyes. his mother was also there (i think), and both were taken prisoners

if this story sounds familiar, please let me know!

spoilers for the end of the book under the cut

the messenger man reached his destiny, a fancy palace hosting a party, and faced the villain alone in his room. the villain knew the messenger had been blinded, so he attacked him, but messenger dodged his attack effortlessly. confused, the villain attacked him again, and again his attack was evaded. the villain continues attacking messenger man, growing enraged that he cannot land a single blow on him, when he realises. messenger could see. the villain stands back, shocked by this fact (at this point of the story, around one quarter of the book had had messenger man being taken cared of by his mother as a blind man for several weeks while being captured by the enemy). messenger man reveals his secret. when the sword was raised to his eyes, tears swelled in his eyes at the thought of leaving his mother with no children, and the tears protected his eyes from the heat of the blade. in the end, messenger defeats the villain and successfully delivers his message. i think he wins like a ton of medals for his achievements, but i don't remember what happens to him after the book is over. that's all i got!

[cjrae]

Pride and Prejudice 1995 text posts, part 3 of ?

More: Sense and Sensibility 1995 text posts | Northanger Abbey 2007 text posts | Emma. 2020 text posts

[cjrae]

This is a great review that very succinctly gets across why The Apothecary Diaries has been so compelling for me to watch!

The Apothecary Diaries

What, we are talking manga now on this blog?

Of course!

Ever since I fell into a Maomao/Jinshi shaped hole on Crunchyroll, I have been taken hostage by this story. Needless to say, I immediately went on to read the manga and found myself captivated even further - so much that I am actually shipping Maomao and Jinshi, and those who know me know that me shipping a straight couple happens once every ten years. But the chemistry between them- oh, where could I possibly begin!

But, as always, first things first.

Synopsis: The young apothecary Maomao grows up in a brothel and lives with a physician whom she regards as her adoptive father. On her quest to find new herbs, the young woman is abducted by human traffickers and sold to the Imperial Court to work as a maid. Soon, however, her skills as a healer and her incredibly sharp wit attract the attention of the eunuch Jinshi, whose true identity is a well-kept secret. Soon, Maomao finds herself in the very midst of the intrigues of the court as the personal food taster of the Emperor's favourite consort, and it is there where the mysteries begin...

Truth be told: The Apothecary Diaries did not lure me in immediately. I had seen the manga in some bookshops, but the art style gave me the impression of "yet another shojo manga" and I did not bother reading the blurb. Then, I got a subscription to Crunchyroll and decided to give the anime adaption a try and-- here we are. Now that I have also read the manga and still follow it, I felt the need to give a review.

When looking for manga to read or anime to watch, I can be very picky. I am not easily impressed by what is currently popular and I need a story to grab me by the throat and shake me thoroughly, only to rip out my heart, tear it into pieces, mend it and put it back again. Most anime and manga that are currently popular in Germany are of the shonen genre, which is not really what I am into. But how would I classify The Apothecary Diaries?

What Natsu Hyūga has created with her Light Novels and now with the manga is a beautiful mix of romance, mystery, and comedy, embedded in a gorgeous historical setting inspired by Imperial China. Set at the Imperial Court, the reader is thrown into a fantastical world of pomp and splendour where everything, from things to food to women, is at only one man's disposal. What sounds like a classical harem trope is one only to a certain extent. The system of the court is merely described, not glorified, but also not judged. In that, Maomao is an excellent main character to follow as she mostly observes and makes her conclusions, only to state at the end of it: but it's not my business anyway. I am not sure if I have ever seen/read a main character like her before that draws such a strict line between her own life and the business of other people - perhaps she is a bit like Jane Eyre, but with a passion for poison. The deadpan exchanges she has with Jinshi definitely reminded me of the conversations between Jane and Rochester, minus the psychological manipulation.

Maomao could have easily become a Mary-Sue character with little personality beyond her enthusiasm for all sorts of poison. However, she is a strong-willed young woman with flaws that are entirely believable, such as her assumption that she might lack typical human emotion due to her upbringing. At the same time, she stays wary and follows the advice of her adoptive father to never make assumptions out loud, and to never ask questions, lest she might fall into something that is none of her business and might harm her in the end. She is aware that as a woman not following a traditional path, she must be even more careful, but at the same time, does not judge women that follow or even want a traditional life. Jinshi is intrigued by that, but also by her skill and her wisdom which she never flaunts, but only ever expresses as a passion of hers that she is not ashamed of. It is a pure joy to watch Jinshi grow fond of her, yes, fall in love with her for what she is, says, and does, while Maomao stays all the while entirely oblivious, not thinking of herself as particularly pretty or lovable based on her low social status. Said status does not bother her much and she does not attempt to change it even though it would be within her means to do so - her decision to stay away from what could become her birthright is entirely understandable for the reader and makes Maomao even more fascinating.

The character of the eunuch Jinshi is a masterful mirror of reader reactions to Maomao up until the point where his own story unfolds. Born at court to a mother belonging to an emperor and raised in a golden cage, his true identity is unknown to most beside a selected few that also keep his identity hidden. The purpose of this secrecy is slowly unveiled just as the reader learns of the weight resting on Jinshi's shoulders, and Maomao's appearance at court seems to shake him out of a rigour he has been subjected to for a very long time. Although everyone's favourite at court, Jinshi is alone in his beauty and Maomao, observant in terms of both plants and people, soon realises how lonely the man is and how deep the secrets run. After all, the man is far too beautiful to be a eunuch. But even here, she stays true to her credo of not getting involved in anyone's business unless she is forced to, even as the chance arises to learn the truth.

Especially noteworthy is that while the world of Maomao and Jinshi is a golden one at court, Natsu Hyūga does not shy away from depicting the horrible things that humans can do to each other. Various darker topics are covered: human trafficking, child abuse, rape, pedophilia, the exploitation of women and children in the name of royalty, envy, and the illusion of free choice. The world of The Apothecary Diaries is not a kind one to women - Maomao points that out, reflects on it several times and knows that she, by her gender alone, is viewed as inferior. It does not stop her from pursuing her goals, but it keeps her incredibly aware of her surroundings. Many times, stories like that fall into the trap of creating a female main character that is "not like other girls" and constantly belittles the women and girls that seemingly fit the picture. Maomao might not be a courtesan, concubine, noble lady, or consort, and she might not necessarily have traditionally female interests such as fashion and jewellery, but she never belittles the women around her for their interests or life choices. This is an incredibly refreshing take and speaks of the excellent skill of the author to create a female character that is special, in some ways The Chosen One, but also likeable, obscure, and true to herself.

The manga is still ongoing, and I have no doubt that the story will take the reader down many dark and twisted paths. As for myself, I am rooting for Maomao and Jinshi as well as for the vast array of lovable side characters such as Gao Shun and Ba Sen, the consorts, the courtesans, and many more. I am excited to watch this story develop further and I am glad that I clicked "play" on that first episode two weeks ago. What a jewel of a story I have found there, and what a joy it is to follow the story of the incredible, funny, and absolutely insane Maomao.

[cjrae]

@magnetoisright this sounds just like you!

inspired by the scariest words my dm has ever said to me and the subsequent coolest (AND SCARIEST) scene of my life

[cjrae]

[cjrae]

Artist By からすまい

[cjrae]

Spy x Family workbook scans - part 1

The Spy x Family workbooks are a series of Japanese books for helping children learn. There are three total as of now: one for English, one for programming, and one for drawing. I wanted to get the books not just because they're good Japanese practice, but because they feature original illustrations of Anya and the other SxF characters in adorable chibi style ❤️ I'll be sharing some scans from each book, starting with the English one.

First off are the character bios. I find it hilarious that the book mentions Yor's job as an assassin...not a word I'd expect to find in a children's book 😅

The book goes through the different letters of the English alphabet along with sample words featuring the SxF characters, like "B" for "Bond" and "A" for "Anya." I didn't scan all 26 letters, but here are some of my favorites!

Both Loid and Damian are having such lavish meals, lol. Also Henderson gets "E" for "elegant" of course.

I love how Bond looks so worried about Yor's cooking 😂

My two favorites of these, "Father" and "Mother" of course~

And two of the weirdest ones, Yuri and a giant gorilla for "G" and Franky fishing an octopus for "O." Kinda random, lol.

Next are some activity pages, like a maze and common phrase practice.

I gotta say that despite this book being aimed at young children who probably aren't hardcore SxF fans, it tries to feature even obscure characters like the Forgers' neighbors, the lady from the tailor shop, and Martha. Kudos to the book authors for trying to be as faithful to the SxF universe as possible!

The book even adapts a couple of already established illustrations, like the below one that's similar to the Boss Coffee collab.

Also this one that's similar to the extra Endo illustration for chapter 36!

And here's a couple more to wrap up this post! Cute family dinner time...

...and domestic Twiyor ❤️ Loid is so determined to fix Penguinman!

[cjrae]

Japanese Linguistic Observations in Spy x Family - part 2

Part 2 - Anya's "Anya-isms"

I think Anya has one of the most interesting ways of speaking out of all the SxF characters. But like with Twilight's dialogue that I previously discussed, it can only be fully appreciated in the Japanese version. Probably the most noticeable thing about her dialogue is how it's written compared to the other characters.

Written Japanese is comprised of three different alphabets: ひらがな (hiragana) and カタカナ (katakana), which together are referred to as "kana," and 漢字 (kanji). Kanji are the characters that hold the meaning of words, while kana simply represent the various Japanese syllable sounds and don't have any meaning on their own (much like the letters of the English alphabet). There are only about 100-ish total unique kana symbols, however, there are over 2,000 kanji in common use today. So Japanese children will start out learning kana and then learn kanji gradually during their school years. This is why Japanese children's books are typically written only or mostly in kana. This is also why manga and books aimed at a younger audience will have kana "translations" of kanji written above kanji characters, which are called furigana.

With that in mind, it's not surprising that all of Anya's dialogue in the Japanese version of the SxF manga is written entirely in kana. Even though using kanji in her dialogue wouldn't necessarily mean she knows kanji, reading a character's dialogue only in kana definitely gives off childish vibes – it conveys feelings of youthfulness and innocence, like "they're speaking only in kana because they don't know the kanji for these words…they're just a little kid, after all." At least, that's the feeling I get when I read Anya's dialogue. Though I haven't read enough manga in Japanese to say for sure, it seems like this concept of making little kids speak only in kana is not unusual, as there's at least one other example I know of: a manga from the mid-2000s called Yotsuba also has a titular 5-year old whose dialogue is written only in kana.

What's also interesting is that all of the other Eden kids speak "normally," using kana and kanji properly in their dialogue. This helps to convey the fact that, despite Anya being roughly the same age as them, their "rich family" upbringing has forced them to grow up faster. In the below panel, you can see how Damian's dialogue uses kanji (with furigana translations) while Anya's uses only kana, even for words that have kanji.

Interestingly, I found at least two cases where Anya does use kanji in her dialogue: when she's calling out the name of her big "Arrow of Light, Seize the Star" move during the dodgeball game, and when she calls out her "Lighting Bolt, Deliver my Aid" move when she tries to throw Yor's weapon back on the deck in the cruise arc. As you can see in the below panels, the names of these "moves" is written in kanji (with furigana translations). This makes sense not only because this is parodying shonen series where the characters shout out the names of their moves, but because it emphasizes how determined Anya was at these moments.

But going back to how Anya's speech compares to the other kids, another thing that stands out is that she speaks very "plainly." Her grammar is (mostly) correct, except for a few mistakes you'd expect a little kid to make. But she uses pretty much no colloquialisms, almost as if she knows the language but lacks the experience for using it in normal social interactions. I don't think this is unusual for a kid her age who's still learning, but it definitely stands out when compared to her classmates. For example, in the below panel, Becky uses normal interjections and other colloquialisms in her speech, like "ne" (ね), "wa" (わ), and "yo" (よ), which are all standard Japanese linguistic devices for softening or emphasizing your sentences. However, Anya doesn't use things like this in her speech. Again, this makes her speech come off as very plain and abrupt, almost like she's not a native speaker.

She also refers to herself in third person all the time in the Japanese version. In fact, I don't recall her ever using an "I" or "me" pronoun. I don't know why the English version of the manga doesn't keep this characteristic of her speech. I think it's very important in highlighting the childish aspect of her personality.

Putting all this together – the fact that she doesn't use typical colloquial speech and refers to herself in third person – really emphasizes the childish, naive, and almost baby-like nature of her character. I'm curious if Endo made her speak this way simply to show what a little kid she is compared to her classmates, or if it will somehow tie back to whatever roots she has in classical languages that he keeps hinting at. Regardless, as I mentioned in my full Anya analysis, what she lacks in speech and school smarts, she makes up for in empathy and resourcefulness.

Besides all this, Anya does make typical speech mistakes a normal kid would make, like mishearing words or saying things wrong. She mostly uses casual speech, but does try to use keigo (polite speech) on occasion, though not always correctly. For example, she says "ohayaimasu" (おはやいます) for "good morning" instead of "ohaiyou gozaimasu" (おはようございます).

But the most consistent "mistake" she makes (though it's not really a mistake) is what she calls Loid and Yor – "chichi" (ちち) and "haha" (はは) respectively.

Japanese has many different words for relatives depending on whether you're talking about your own relatives or someone else's, and whether you're talking to them or about them. "Chichi" and "haha" are the general, neutral terms for "father" and "mother," and are also used when talking about your parents to someone else. However, they're not used when talking directly to your mother and father. There are many other words for that, the usual ones being "o-tou-san" (お父さん) and "o-kaa-san" (お母さん), or some variations of these with different honorifics. Damian refers to his dad as "chichi-ue" (父上) which is very formal, while Becky calls her dad the actual English word "papa" (パパ) which is very informal and normal for kids to use. But again, "chichi" and "haha" are typically only used when talking about your parents, not to them the way Anya uses them. This started from the very first chapter where Loid asks her to call him something that sounds "elite." He originally suggests the very formal "o-tou-sama" (お父さま), but when Anya says "chichi," he doesn't bother to correct her.

Hearing a little kid call her dad and mom "chichi" and "haha" is kind of like calling them "my father" and "my mother" even when speaking to them directly – it's not wrong necessarily, just strange. But again, this serves to further emphasize the childlike nature of Anya's character.

<- Return to Part 1

[cjrae]

Stunted Love. Or: The Theme of MaoMao's little finger.

Maomao's little finger is a recurring motif in the Apothecary Diaries, and it receives even more emphasis in the anime's first season - it represents her belief that romantic love leads to pain and destruction. Spoilers primarily for the anime, but also the epilogue of light novel four and Chapter 15 of light novel six below.

Love In A Cage

The motif is first introduced in "The Unsettling Matter of the Spirit" - Concubine Fuyou's story. Maomao has already noted the parallels between the red light district and the Inner Palace, but here we see what happens when romantic love is introduced into the mix. On paper, Concubine Fuyou is a literal object of pity. Her personhood is being gifted to an officer who recently distinguished himself on the front lines, discarded after having failed to please the Emperor. It's telling that this is one of the first times we see Jinshi interacting with a consort where he is completely serious, without bringing his charm to bear. We never hear him say anything, but it's clear that he's communicating the Emperor's order with respect and understanding the gravity of the consequences for Fuyou.

As the events of the episode unfold, the parallels between courtesans and consorts get stronger as Maomao introduces the concept of having a contract bought out - if a man wants a courtesan enough, she is also an object to be purchased, albeit at potentially astronomical price. At first glance, it would seem like these women have absolutely no power in these scenarios - but by the end of the episode, Maomao shows us the feminine side of this transaction - how a woman can manipulate the system she is trapped by in order to get what she wants. All she has to do is lower her value - a rather counterintuitive measure that can go horribly wrong all too easily, as we see later.

And what Concubine Fuyou wants is to escape the Inner Palace to be with the man she loves - a task that she succeeds at. She has played a long, patient game in the service of freedom. Trapped in the cage of the Inner Palace herself, Maomao holds her scarred finger against the freedom of the sky and wonders what kind of medicine love would make.

Devotion

We see further flashbacks to Maomao's past through multiple episodes, but the next time the concept of love is brought up is when Fengming is confessing her role in the death of Consort Ah-Duo's baby in "Honey" (episode 11). Maomao is brought up short by Fengming's confession - she flat out says to the audience that she's never loved anyone with that depth of devotion Fengming displays toward Ah-Duo, so she doesn't know how Fengming feels. But if she doesn't have empathy to offer, she does have a rough kindness. Another person might have said that Ah-Duo deserved to know why her son died, that the knowledge might have provided closure. Maomao, however, believes that knowing the baby's cause of death would only cause more pain (it's never the crime and always about the cover-up) without providing any actual benefit.

With these two episodes framing her early character development we see that, whatever Maomao's natural inclinations are (and I will leave discussion of neuro divergency to those better qualified to discuss it), there is a certain distance between Maomao and her emotions most of the time. It is implied that this distancing from her emotions is a trauma response as the image of a woman holding a knife above her head while kneeling on a bed is shown but not explained (it is the only recurring image during the montage before the discussion about her potential execution with Jinshi).

Lakan and Fengxian

In "Lakan" (episode 18) the motif begins recurring more often as Maomao's parentage is revealed. We've caught glimpses of the sick woman in the annex before, but as the camera pans over the bed, it's clear that this is Maomao's mother (as always in anime, the hair is a dead giveaway). We've seen Maomao in this room, always curled in a fetal position, staring with blank eyes, but here we see Maomao actually caring for a woman who she describes as driving her out over and over again. The camera's focus is on Maomao's eyes as she watches her mother continuing to deteriorate - they're blank yet again, echoing her earlier line of "This is stupid. She's gone."

This is not the look of a girl who genuinely doesn't care about her mother. The image of her mother with the knife upraised is straight out of recurring nightmares that wake her gasping with terror and continue to haunt her after she's returned to work. While there is no AFFECTION involved, there are certainly very strong emotions here. Later, in the bath with Meimei, Maomao wonders if Meimei's in love - and immediately shies away from the thought, insisting that "love is an emotion I'm sure I left behind in the womb."

Interestingly, this is immediately belied as the Three Princesses (the women who took on the maternal role that her mother discarded) begin to pamper Maomao in the bath, and she relaxes into their touch, flushed with belonging and pleasure at their attention.

Confrontation

In "Blue Roses," (episode 22), everything has built to a head. By hiding Maomao back into the Rear Palace, Jinshi is acting as her shield - and Lakan responds with a power play. Both he and Jinshi are aware that Lakan knows his true identity, so Lakan provokes Jinshi with a political test. "Nothing is impossible" for a man with Jinshi's power - so providing some blue roses at a garden party in early spring should be simple, right? It's a near impossible task and Lakan knows it - even if Jinshi were to figure out how to dye the roses to be the appropriate color, they're still out of season.

Up until now, Maomao's response to Lakan has been to hide. But, with Jinshi's reputation on the line and seeing how worn out he is, Maomao has finally had enough. So she takes Lakan's challenge on and, while she's in the process of growing the hothouse roses so that Jinshi can best Lakan, she diverts unwanted attention from the Crystal Palace's handmaidens by showing Xiaolan how to do a manicure - something that draws attention to the deformed pinky on her hand and changes her perspective of the damage to the finger.

The art should be paid attention to here - we see close up shots of two other people's hands after having the manicure done - Xiaolan and Consort Lihua. In both of these shots, there's some subtle detail paid to their little fingers as well - Xiaolan's is ever so slightly crooked rather than perfectly straight, while Lihua flexes her fingers so that the pinky is extended as she looks at her hands. In the next shot, Maomao has done her nails as well - and when Jinshi draws attention to the fact that he's surprised she would do her nails (like Hongiang, Maomao usually prefers work over fashion), she looks at the finger and remarks that, even though her little finger is twisted and scarred, it looks better than it did before - an acknowledgement that the finger is not actually a hindrance, but a piece of her identity.

Healing

Giving Lakan the opportunity to finally do right by Fengxian is the most grace and forgiveness that Maomao can extend to either of her parents. Their romantic love is certainly sympathetic to an outsider, but Maomao was shaped by the consequences. Lakan's carelessness and Fengxian's willingness to break the rules of the pleasure district in order to deliberately lower her value so that she could be with the man she loved, is the guiding cautionary tale of her life.

But Maomao has also grown over the season. She is neither the terrified little girl, abandoned by mother and father alike (however unintentionally on Lakan's part) nor a teenager full of fear fueled rage at Lakan's persistence. She is Luomen's daughter and proud of that fact - she has found her family and a place in the world. It is with that more adult understanding of the world around her that she dances atop the wall of the Rear Palace, giving her parents the only thing she can, which is her blessing and best wishes for their short future, as she sends her mother off.

Sure enough, who is watching her as she takes a step toward a more mature identity but Jinshi? Other characters have provided a shield between Maomao and Lakan - Verdigris' madam, Meimei and even Luomen. But it is on Jinshi's behalf that Maomao decided to face Lakan herself. She loves her adoptive dad and granny and sisters with all the affection she never received from Fengxian, but Maomao's actions have always spoken much louder than her words - Jinshi protected her and she, in turn, chose to face her childhood bogeyman to help him.

Is it stating the obvious that Maomao tripping and Jinshi catching her is an obvious metaphor for falling in love?

As she dances on the wall, we see the two seemingly disparate sides of her identity coalesce into a whole. The moment she lets down her hair is a uniquely Japanese moment of eroticism (this is why maiko and geisha use the oshiroi that bare the nape of their necks), even as she's also deliberately reapplied her freckles.

The moment she realizes that Jinshi truly sees all of her in a uniquely emotional moment, she trips and is made terrifyingly vulnerable as she nearly goes over the edge - only to be caught safely in Jinshi's arms.

Safely back atop the wall, the little finger comes up one more time - except that this time, instead of looking at the damage inflicted and seeing the scar, Maomao looks at her pinky and shows it to Jinshi, telling him what sounds like a strangely gruesome medical fact. That a fingertip can regrow if cut off. For all the trauma that her biological parents caused her, for all that her pinky will be scarred for the rest of her life, the wound did heal. Maomao has healed - she is capable of friendship, loyalty and love that can inspire devotion - even if she rarely displays open affection.

Love Creates Fear

This motif comes back again, at the end of light novel 4 (what will be the end of Season 2, if the studio continues to stick to two light novels a season for pacing, which I expect they will). Jinshi has officially cast aside his cover as a eunuch and stepped into the political limelight as the Imperial Brother. Maomao, as a result of their adventures, has returned home, to her apothecary shop and, as she works she thinks about how everything has changed.

"Jinshi must have finally gone back to being whoever he really was. Maomao didn't know his real name: she couldn't have used it even if she did. The worlds they lived in were simply too different…Anyway, now that Jinshi was no longer a eunuch, he couldn't get away with keeping some lowborn girl around him…So it was for the best, really, that Maomao had come back to the apothecary's shop in the pleasure district."

As Maomao ruminates to herself about how she will never see Jinshi again, she retreats to what she knows best - medicine. She's got her emotions under lock and key and she's begun experimenting, working on creating a more potent painkiller. However, her pain tolerance is too high to work with her previous methods.

Or, to lay the metaphor bare, Maomao has dealt with abandonment before, but not like this. Her usual methods aren't working - so it's time to up the ante. What she does next is extremely telling.

"'Got to cut deeper if I want to be sure'. Maomao looked at her left hand, then tied some string firmly around her pinky. She stood and took a small knife from a cabinet. 'Here goes!'

Just as she was about to bring the knife down, a beautiful voice interrupted her: 'WHAT are you doing?'

Without a word, she turned to see a man in an unusual mask standing in the entryway of the shop…'Done with all your work?' Maomao asked, undoing the string around her finger and putting the knife back in the cabinet."

The thought that she and Jinshi are now living in such different worlds that they will never see each other again is painful enough that cutting her finger off in a thinly justified experiment is preferable to feeling her own emotions. What Maomao wants in this moment is a return to the emotional numbness of the past - only this time, she will do the damage herself.

But Jinshi is not Lakan and abandoning Maomao for any reason is simply not an option. Just as he caught her on the wall, Jinshi catches her again. A prince is standing in an apothecary shop on the edges of the red-light district, a place where he should not be - except for the fact that it's where Maomao is.

Connection and Communication

Finally, as a callback toward the end of light novel six, Jinshi and Maomao are beginning to reconnect after Jinshi screwed up and lost a lot of emotional ground in light novel five's epilogue, and he does the following.

"She reached out for the package, which Jinshi had put behind his back, but he planted a palm on her belly to keep her from sitting up and she couldn't reach it. She kicked her legs from sheer frustration and this time he grabbed her ankle. She was just trying to decide what he might be planning when he brushed the tip of his pinky finger along the back of her foot.

'Hrk?!' Maomao choked, squirming...The back of her foot, and her back as well, were hopelessly vulnerable to a gentle brush of the fingers.

'M-Master Jinshi...That's...not...fair!'"

While Jinshi is still the instigator in this scene, this is the the first instance of romantic and sexual contact that Maomao accepts, eventually bursting out laughing - and when he gets that laughter, Jinshi also immediately backs off, accepting that he has pushed her as far as she can go right now. But that first contact was via that tiny fingertip representing love.

His hard-learned patience is rewarded when Maomao is finally willing to speak to Jinshi about how she's feeling about his desire to marry her, first obliquely as they discuss the plot of a very familiar tragic romance, before she addresses the issue directly.

"Instead of answering, she murmured, 'I don't want to be an enemy.' Jinshi gave her a sidelong look as if to ask whose enemy she meant. 'To Empress Gyokuyou,' she said.

Would Jinshi understand what she was saying? If not, that was fine, Maomao thought. There were things even he didn't know.

'You - '

He seemed about to ask her something else when a horse whinnied outside..."

Maomao may be hesitant, she may feel very confused, but she finally gives Jinshi something to work with here - communicating to him not that she simply doesn't care about him that way, but that she has a very real, concrete fear about what a romantic relationship with him would mean, not only for them, but for everyone else around them.

That's a lot to balance on the tip of a pinky.

[cjrae]

The OP has fully gotten why I love the divide between what Maomao words versus her actions.

Maomao: ugh why does Jinshi insist on pursuing me I don't even like him

Also Maomao: this person can't even know I'm actually surprised, Jinshi would have understood my slightly furrowed brow. Ugh this other guy is too slow at understanding where I'm going with my investigations, Jinshi would get it faster. This girl is so beautiful, but not as beautiful as Jinshi.

[cjrae]

reblog if you’ve read fanfictions that are more professional, better written than some actual novels. I’m trying to see something

[cjrae]

JINSHI. Apothecary Diaries

Ink drawing using brass dip pen. (Gift from Matchapokki. Thank you 💖🐇)

[cjrae]

Jinshi ascending the throne is literally the Bad Ending. Also, I hope the OP goes ahead and expands on some of her points, because each of her bullets is an analysis in and of itself.

it’s interesting that some would want jinshi to be emperor and maomao to be empress when it’s been hinted multiple times that he doesn’t want to be and it’ll be the cause of his early demise. nothing wrong with wanting him as the emperor but i personally don’t see it as a good thing.

just a short rambling after reading the web novel and seeing the latest ln15 spoilers.

> jinshi, especially after that scene on ln5 shows immense character growth in the latter volumes. in the latest ln, he’d rather let go of maomao than chain her to him when he (unwillingly) becomes emperor. previously, he proclaimed that he wanted her to be his wife and would get rid of any obstacles hence why he branded himself to the disappointment of the emperor and maomao. he was quite possessive and childish when he was young, far from the current jinshi now.

> same with maomao, she used to avoid trouble and involvement in the royal court but now she’s more outspoken about her thoughts and feelings. confident with her skills and quite assertive.

> there is this deep understanding between them and in the epilogue it’s clear that they both didn’t want him on the throne. they used to be evasive with their feelings and now they’re being straightforward with each other and that’s progress if you ask me. it’s subtle but they show their care through physical touch and company (it’s their love language!!)

> a lot of fans have noted that they parallel both of their parents’ failed relationships and i agree (don’t want to elaborate on this cuz it’ll be long)

> ah duo and the emperor (also maomao) know that jinshi will be a wise and kind emperor but this will cause him to die early. now that he’s doing the emperor’s work while he’s recovering, he was clearly overworked to the point where maomao has to take care of him. this is just a glimpse of what will happen to him once he ascends the throne and that’s not what ah duo wants for her only child, same with maomao. if he does become the next emperor, he needs maomao by his side to keep him in check and that’s another problem to face politically and emotionally. she’s willing to be by his side but at the expense of her freedom and jinshi doesn’t want to rob her of that.

tldr: jinshi becoming the emperor is not the happy ending we’re looking for. unless the author will give him a leeway like him becoming a regent until his siblings are of age or if maomao is the only consort he will have. and there’s still a long way to go tho because he still doesn’t know his real parents and if iirc there’s this faction who wants him on the throne. more content to consume lol.

[cjrae]

It gets better in LNs 3&4!

really love how most the Grown consorts are like [points at maomao] is anyone going to adopt this???

[cjrae]

The author is also very clear about why Maomao is so invested in the existing class system - she's seen what can happen to the people who flout the rules. She herself is the result of two people who decided that their passion was worth breaking the rules and the consequences of Lakan and Fengxian's selfish choice rippled outward and affected more people than just the two of them.

The difference between Lakan and Jinshi is that Jinshi understands that not only do his choices carry consequences, but that his social position means that those ripples will affect so many more people than a single brothel. Jinshi's internal tension between love and duty resonates, I think, because he understands that in order to earn Maomao's love, he needs to resolves his duties in a manner acceptable to the society they live in - because if his passion for her ended up hurting everyone else around them, there's no way Maomao could ever respect, much less love Jinshi.

Maomao is her own villainess who cares about class and propriety

You know how in a lot of shojo/josei literature there is a villainess (either the mother or a rival) who is deeply offended by the romance between the princley ML/ commoner FL because it's.just.not.done and commoner FL could never be worthy of ML?

one of the more brilliant narrative moves of kusuriya is to combine the person who cares about status and propriety to a frankly unsettling degree with the protagonist.

Because that has a lot of advantages:

First: this conflict between class/person is now an internal one. One of the reasons Maomao has difficulty accepting Jinshis advances is because she sees herself as unworthy of him. She really can't understand what he sees in her.

Second: It's realistic. Of course Mao Mao is aware of the class system. She knows she survives on the good graces of the people in power. She knows she's unfree to a certain point. She knows she has far more to lose. She wields this class system expertly to gain a maximum of freedom. I find it pretty telling how few of the rules Maomao actually breaks while still living the life she wants.

Third: It frees up the villains to have other reasons for their villainy. Even Lakan the person who comes closest to this character cares more about having a relationship to Maomao than about destroying Jinshi because he's not good enough. And he's rightly called a weirdo for his obsessions. The other villains (the Ma-Clan, the white lady, Gyouk-Ou) have other reasons for their villainy who've frankly nothing to do with the romance.

and I find that refreshing

[cjrae]

Rank And Responsibility. Or: The Hairpin Scene from Jinshi's POV.

Be warned now about the consequences of choosing to do an English Lit degree - you end up doing lit crit for fun. With that in mind, let's break down the hairpin scene at the end of Covert Operations (Episode 5). Mild spoilers for Jinshi's arc are below.

While this moment does kick off the romantic subplot, with all the implications that giving Maomao the hairpin out of his own hair has, I would argue that this is not the moment Jinshi realizes he's in love with Maomao. Instead, from his point of view, this scene demonstrates how Jinshi handles failure.

Holding Power In An Open Palm

This is still very early in the story. Our first hint to Jinshi's true rank does come in this scene, but for now we know him as the manager of the Rear Palace. For the three thousand people who live and work there, for all intents and purposes, Jinshi is the highest authority they will encounter. He literally has the power of life and death over them, either directly in the case of the servants and eunuchs, or in the case of the consorts, his word to the Emperor directly can serve the same purpose. We also see Jinshi use this power early on - he's not just there to keep order, but also to test the consorts' loyalties and virtue. We never see what happens to the lower-ranked consort who attempted to invite Jinshi back to her room, but at the very least that report ensures that her already small chance of the Emperor choosing her as a potential mother of the nation is utterly cut off - and if she doesn't bear children, she will be discarded.

We also know that Jinshi will not hesitate to order corporal punishment if he views it necessary - for example, when Maomao discovers that the toxic face powder is still being used by Consort Lihua's ladies in waiting, she mentions in the aftermath that the eunuch who failed to recover the powder was flogged, while the lady in waiting who hid the powder is put in solitary confinement. These are brutal punishments - and if we consider the historical inspirations, these are also very restrained consequences. For hiding an item that caused the death of the prince (unfortunately, the more valuable child) and has put the life of one of the Emperor's favored High Consorts in danger, Jinshi would be utterly within his rights to order executions. If ignorance is a sin, ignorance in the face of knowledge is a greater one.

Microcosm of Li

For all that Jinshi holds his power lightly, he also takes the responsibility that power bestows upon him quite seriously. It's worth noting that Jinshi takes over governing the Rear Palace shortly after Maomao's service contract is purchased. (Remember, Xiaolan talks about the "beautiful, new eunuch that's been posted to the central courtyard," which tells us that Jinshi has not been in the Rear Palace long enough to become a fixture - he's an object of speculation and admiration from episode 1).

In context it's clear that, with the birth of two Imperial children, his job is to ensure the survival of the Imperial line and investigate why children of the Emperor are dying consistently in one of the wealthiest and safest places in the entire empire. We're shown him running in between Lady Lihua and Lady Gyokuyou to ensure that their very sick children are being seen to properly, investigating what could be causing it, while also managing tensions as rumors about the Emperor's children being cursed begin to spread and outright accusations of sorcery are being thrown between consorts. While the audience might immediately scoff along with Maomao at the idea of one consort cursing another, if Maomao hadn't found the cause of death, those types of accusations followed by Lady Lihua's and Princess Lingli's inevitable deaths could have ended with Lady Gyokuyou's execution.

The Rear Palace is a reflection of the nation as a whole. No Imperial heirs plus the deaths of two High Consorts with various foreign and domestic political ties had the potential to thrust the entire nation into chaos. Jinshi's choices have very real consequences, so when Maomao discovers what the true cause of death is and sends her warning, Jinshi looks at Maomao and doesn't see a person. He sees a "perfect pawn." A tool, one with talents that have ensured that at least one Imperial child has survived and providing a rational explanation why these children have died so that it can be prevented from happening again - and a skill set that can be turned to preventing any more shenanigans in the Rear Palace that could threaten the empire's foundation.

And, as Gaoshun points out, in the beginning of the hairpin scene, she is a toy. Maomao amuses Jinshi up until this point.

For all that Jinshi is shown wielding power with a light hand and a responsible mindset, it literally doesn't occur to him that the people working in the rear palace have stories - some tragic - about how they came to be there. They are resources to be used as befits the Emperor's (and therefore the nation's) need.

Hidden Beauty

When Maomao turns around and Jinshi doesn't recognize her until she speaks, he's shocked. He thought he knew exactly who and what this girl was - ugly and unremarkable, except for her intellectual brilliance and the challenge in managing her by other means than empty compliments and smiles. He attempts to recover and assumes that she is enhancing her looks - and is shocked again when he realizes that the face Maomao has presented to him so far is a protective mask against attracting attention. In a world where beauty is both a currency and a tool that others covet, Jinshi doesn't understand why Maomao would deliberately devalue herself like that. So she tells him.

This is the moment Maomao becomes a person to Jinshi.

Not a toy, not a pawn. Someone who has been ripped from her home and her life illegally and sold off. It's in this moment that Jinshi is forced to confront the ugly side of the society he lives in, people who would rape Maomao out of pure convenience or just take a "borderline marketable" girl off the street in order to get extra drinking money.

Worse, Jinshi is complicit in Maomao's captivity. The Rear Palace has bought her contract - and as the manager of the Rear Palace, Jinshi is responsible for everything that happens within its' walls. The fact that Jinshi does not personally oversee service contracts is irrelevant. The buck stops with him. If the Matron of the Serving Women or whoever is below her is buying these contracts without checking their sources, that is Jinshi's fault because he has allowed a lax enough system to flourish. He has failed to govern this microcosm of the nation wisely, with thought for the welfare of the least powerful among his people. Worse, he has failed to even notice the problem - Maomao may say she's angry about having been kidnapped and sold, but she doesn't react in a way that indicates anger. Instead, she's resigned. Yes, what happened to her was wrong and she's angry about it, but there's literally nothing she or Jinshi can do.

Or Is There?

Jinshi offers Maomao two apologies, the first of which is our first hint to his true status. "I'm sorry we couldn't police them better." Maomao immediately blows off this apology - she points out that there's no way Jinshi should have known and has a very "all's well that ends well" attitude about her situation - her contract will be up eventually and in the meantime she's managed to land in a fulfilling role. Essentially Maomao is telling Jinshi that this apology is not his to make - he's overstepping his responsibility. And, if Jinshi were simply the manager of the Rear Palace, she would be right. It's his job to ensure that the Rear Palace is properly staffed, not to regulate that all contracts comply with the law.

Jinshi apologizes again. This time, he offers no other context. He doesn't accept Maomao's absolution of responsibility - because he knows (even if we, the audience, don't) otherwise. It can certainly be read as Jinshi refusing to accept easy absolution, and the rest of those witnessing the scene, apart from Gaoshun, certainly take it that way.

Instead, he takes the hair stick from his own hair and places it in Maomao's. Their entire relationship has just been upended; Maomao is a person who has been gravely wronged and it is Jinshi's responsibility to begin to make it right. Aside from the personal implications of giving her the hairpin (and the faint blush on his face makes it clear that he's aware of them), it is a form of restitution. There is an unspoken social contract Jinshi is offering that Maomao does not understand in the slightest. It never occurs to her that Jinshi would do something for her with no thought of what he would receive in return, because of the difference in their social ranks. But, from Jinshi's perspective, that social difference is the point. He has failed her and, as the person of higher rank, it is his responsibility to do what is within his power to begin to remedy the situation in front of him.

And, of course, in that moment he sees Maomao in a new light, the other meaning of gifting her his hairpin has fertile ground to take root in Jinshi's mind.

[cjrae]

NOTE TO SELF-SLOW THE FUCK DOWN!