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Two Precious Scroll Narratives of Guanyin and Her ... - Khamkoo

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18 Introduction<br />

the shorter version considerably s<strong>of</strong>tened Miaoshan’s harsh castigation<br />

<strong>of</strong> the prioress <strong>of</strong> the White Sparrow Convent, he apparently<br />

felt no qualms about retaining the full text <strong>of</strong> the sarcastic putdown<br />

<strong>of</strong> the <strong>of</strong>ficials.<br />

When the massive social pressure <strong>of</strong> all the appeals to common<br />

sense, all the promises, <strong>and</strong> all the threats are still not enough to<br />

make Miaoshan give in to her father, action has to follow. ‘‘Suffering,’’<br />

writes Cazelles, ‘‘is presented as a prerequisite for the attainment<br />

<strong>of</strong> sainthood. Forced exposure, forced enclosure, accusation,<br />

tortures, <strong>and</strong> death at the stake are integral components <strong>of</strong> our narratives.’’<br />

63 The <strong>Precious</strong> <strong>Scroll</strong> <strong>of</strong> Incense Mountain exhibits all these<br />

elements. First Miaoshan is locked up in the flower garden behind<br />

the palace. Next, when Miaoshan is allowed to take up residence at<br />

the White Sparrow Convent, she is burdened with the impossible<br />

task <strong>of</strong> taking care <strong>of</strong> all the physical needs <strong>of</strong> the five hundred<br />

nuns in the convent. She does not for a moment shrink from her<br />

duties, <strong>and</strong> immediately animals <strong>and</strong> gods come to her rescue.<br />

When the king is informed <strong>of</strong> these miracles, he decides to have<br />

the convent burned down. This time Miaoshan intervenes with a<br />

miracle <strong>of</strong> her own: stabbing her palate with a hairpin, she spits<br />

out blood, which turns into a red rain that quenches the fire. The<br />

king, convinced now that his daughter is a witch, condemns her to<br />

death, <strong>and</strong> orders her execution.<br />

Elizabeth Robertson in her 1991 article ‘‘The Corporeality <strong>of</strong><br />

Female Sanctity in The Life <strong>of</strong> Saint Margaret,’’ 64 treating a medieval<br />

English hagiography, reaches many <strong>of</strong> the same conclusions as Cazelles.<br />

She places an even stronger emphasis on the centrality <strong>of</strong><br />

sexual temptation in the female saint’s experience <strong>and</strong> is more explicit<br />

in spelling out the sexual symbolism <strong>of</strong> some <strong>of</strong> the images in<br />

her text. She notes her author’s ‘‘obsessive interest in the physical<br />

torture <strong>of</strong> the female saint’’ <strong>and</strong> argues that his ‘‘interest may be<br />

linked ...to his focus on female sexual temptation.’’ 65 She further<br />

notes that ‘‘the focus on female blood seems to reflect a male fascination<br />

with <strong>and</strong> horror <strong>of</strong> female blood.’’ 66 While in other precious<br />

scrolls on devout Buddhist women, for instance the many retellings<br />

<strong>of</strong> the legend <strong>of</strong> Woman Huang, the inherent impurity <strong>of</strong> sexually<br />

active women because <strong>of</strong> their menstrual bleedings <strong>and</strong> loss <strong>of</strong><br />

blood during childbirth is <strong>of</strong>ten stressed, 67 this issue is not explicitly<br />

raised in The <strong>Precious</strong> <strong>Scroll</strong> <strong>of</strong> Incense Mountain. This may well be<br />

because Miaoshan remains a (presumably prepubescent) virgin,

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