between the young men appears complicated and questionable. Luo appears selfish and careless.
Ma navigates through diverse trials and tribulations in trying to uphold loyalty to his friend. Luo
seems a difficult person to love as he appears violent and selfish from diverse occasions, for
instance, in the scene of taking Balzac’s books from Four-Eye’ suitcase, he appears to be the one
making first dibs at all times.
Ma uses a language that tends to put other people first in any given conversation. Most of
the time, he rephrases his statements to affirm praises to those around him. In one of the scenes,
he rephrases a statement from “my oppressors” to “the Little Seamstress’s swarm of
disssapointed suitors.” In his language, he perpetrates a belief that his presence is unimportant in
relation with individuals within his vicinity. This appears to be his way of showing loyalty.
Ma’s loyalty appears threatened when Luo departs the mountain temporarily and gives
him the responsibility of protecting his Little Seamstress in his absentia. Ma loses control of the
fact that he normally hides his love for Luo’s girlfriend. He takes his physical portrayals of love
in language and other aspects of friendship and loyalty from Luo to the Little Seamstress. He
helps her with household duties and paints her fingernails. This is an act of service. As an adult
Mao learns to put more value on other peoples’ loyalty rather than being sufficient in what he
shows to others. As a spectator in his friend’s love affair, he learns that loyalty needs to be
radiated from both sides for attainability of equal friendship.
Scenes illustrating the relevant cultural interactions
The first scene that portrays cultural interactions is in the reeducation experience that the
boys prospect to find in the mountains. As urban people, they will be expected to adjust to rural
societal expectations. At the mountain, they do not find working as peasants pleasing. This