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46 pages 1 hour read

Battle Hymn of the Tiger Mother

Nonfiction | Autobiography / Memoir | Adult | Published in 2011

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Symbols & Motifs

Chinese Zodiac

The Chinese Zodiac acts as both a symbol and framing device within the text. Each part is introduced by descriptions of Chua’s Tiger Zodiac: Part 1, “The tiger, the living symbol of strength and power, generally inspires fear and respect” (1); Part 2, “Tigers are always tense and like to be in a hurry” (75); and Part 3, “Tigers are capable of great love, but they become too intense about it” (155). These descriptions determine the theme of each section: Chua starts as an indomitable parent, makes mistakes when she tries to assert too much control, and ultimately remains confident that her intensity is the correct route of parenting.

She also refers to her daughters’ Zodiac signs several times throughout the text. Sophia is a typical Monkey—curious, capable, and intellectual—while Lulu is a textbook Boar—stubborn, warm-hearted, and hot-tempered. Chua’s reliance on and confidence in the Zodiac highlights an interesting tension within the text. She creates a binary between Western/ Chinese and Western astrology, in which she does not believe, and the Chinese Zodiac, which she finds legitimate. This dynamic reflects her general doubt about Western culture and her confidence in the superiority of Chinese models. However, her reliance on the Chinese Zodiac leads to the same pitfalls that she suggests are enabled by a reliance on astrology. The tension between predestination and self-determination becomes more visible—and destructive—as Chua becomes more determined to mold Lulu in a way that is at odds with Lulu’s personality.

Dogs

Coco and Pushkin, the Chua-Rubenfeld family’s beloved Samoyeds, are a symbolic cornerstone of the text, and their significance is demonstrated by their prominence in the text’s narrative structure. Part 2 begins with the introduction of Coco, and Part 3 begins with the introduction for Pushkin. At first, it appears that the dogs are surrogates for children; Chua struggles to train Coco and is frustrated when Coco’s performance does not match up with her perceived potential. Jed is exasperated by Chua’s need to exert control over everyone in their home and is flabbergasted by Chua’s conviction that raising a dog is exactly like raising a child. Both dogs undergo a transformation, evolving from one of the smallest puppies in their litter to large and beautiful dogs. Coco sets the standard for Pushkin, who is more clumsy and less intelligent. Like Sophia and Lulu, Coco and Pushkin push Chua to her limits; however, Chua is more accepting of the dogs’ limitations and tantrums than she is of those of her daughters.

As demonstrated in the Coda, Lulu believes that Chua used the dogs as a not-so-subtle representation of the differences between herself and Sophia. This is not an unfair assumption for her to make; the differences between the sisters and the dogs are similarly paralleled in that Chua maintains that the first is easier to manage and sets the standard for the less-compliant successor.

Piano and Violin

The differences between the sisters are further underscored by Chua’s description of her daughters as embodied by their instruments. First, the instruments represent that the girls’ success relies on both their hard work and the privilege they enjoy. The piano and violin are expensive instruments, and Chua spares no expense on either the physical instruments or music lessons. The girls’ musical abilities grant them access and invitations, but it could be argued that they are invited to play at galas and in foreign countries through the networking and connections of Chua and Jed. Chua’s argument that her daughters are successful musicians because they know how to work hard is repeatedly accompanied by examples of their considerable privilege.

Chapter 32, “The Symbol,” overtly establishes the relationship between parenting and the instruments: “In our household, the violin had become a symbol. For me it symbolized excellence, refinement, and depth—the opposite of shopping malls, megasized Cokes, teenage clothes, and crass consumerism” (207-08). Chua explicitly establishes the violin as diametrically opposed to unhealthy American vices, rendering it a panacea for all things superficial. In forcing Lulu to become a master of such an instrument, Chua believes that she is enabling her future success. The piano, the first instrument the girls learn to play, represents the hard work and order that Chua strives to instill in the girls’ lives.

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