The Absence of Historical Records and the Imagination's Fill
The name Sun Shangxiang does not actually appear in the official history "Records of the Three Kingdoms." Chen Shou only refers to her as "Lady Sun" in the "Biography of the Lords of Wu," briefly mentioning her role as Liu Bei's wife. Historical records state that "Sun Quan sent his sister to be Liu Bei's wife," and that "Lady Sun was strong-willed, accompanied by hundreds of warriors, often wielding weapons, and was stern and hard to offend," but they do not provide more details about her thoughts and fate.
This historical silence has provided a vast space for literary imagination in later generations. It is not until "Romance of the Three Kingdoms" that Sun Shangxiang is given a vivid image—she is not only valiant and skilled in martial arts but also passionate, and her marriage to Liu Bei becomes a key point in the alliance between Shu and Wu. Luo Guanzhong uses plots like "marriage to stabilize Wu" and "returning to seize A Dou" to make Sun Shangxiang a focal character where politics and emotions intertwine.
However, this imagination, while endowing her with superficial drama, fails to truly break through the boundaries of being a "tool." Whether marrying into Shu Han or being summoned back by her brother, Sun Shangxiang never truly held the power to control her own destiny. This literary treatment seems to increase the female presence but actually reinforces her role as one who "serves others."
Silent Sacrifice Between Family and Country
From the very beginning, Sun Shangxiang's marriage was a political alliance. Sun Quan marrying his sister to Liu Bei was to win over Shu Han and restrain Cao Cao. In this power maneuver, Sun Shangxiang was merely a "diplomatic card" in the hands of Wu. Although she has lineage, thoughts, and personality, her value is limited to the strategic function of "appeasing Liu Bei."
After marrying into Shu Han, Sun Shangxiang's role beside Liu Bei remains ambiguous. In "Romance of the Three Kingdoms," she is portrayed as a loyal wife and a fierce woman, but she has no substantial influence during major events like Liu Bei's conquest of Yizhou or the establishment of his base in Sichuan. Her existence seems more like Liu Bei's "hostage" to stabilize Sun Quan, as well as a form of marital endorsement.
More cruelly, when the relationship between Liu Bei and Sun Quan deteriorates and Lady Sun is summoned back, she is forced to "return against her will" and even attempts to take Liu Shan with her. This action, though depicted as "a mother's love," once again places her in a structure of "emotion opposing reason." Her actions are not based on strategic judgment but are passive responses to the situation, always remaining passive.
Between the nation and the family, she seems to have never had the real power to choose, and all "emotional actions" ultimately serve political arrangements. This tearing between family and country ultimately leaves her with silence and emptiness.
Symbolic Signs in Gender Structure
The "instrumental" fate of Sun Shangxiang is rooted not only in her personal family background and era but also in the deeper reason of the role setting for women in traditional Chinese culture—women have never been seen as political subjects but rather as mediums and symbols in male games.
In Sun Shangxiang, this "symbolic" aspect is particularly evident. She is "sister of Sun Quan" and "wife of Liu Bei," yet has no independent name. All her identities must depend on her father, brothers, or husband. She is a symbol of family honor and a bargaining chip in political alliances.
Even in "Romance of the Three Kingdoms," where she is endowed with traits like "never parting from weapons" and "raising daughters like soldiers," it seems to break the traditional female image, but in reality, it is a romantic projection of the male narrator onto an "alternative woman." This portrayal of a "fierce woman" does not change her subordinate position in the structure; rather, it reinforces her existence as a "scarce resource."
Especially in the section about "seizing the child," Sun Shangxiang's motherhood is magnified, while her political will is weakened. Her actions are seen as impulses of maternal love rather than political judgment. This way of shaping obscures any rationality she might possess and pushes her to the edge of "emotional overflow" and "power blind spots."
The Suppression and Misalignment of Female Wisdom
Sun Shangxiang is not a foolish person. Her actions repeatedly demonstrate her awareness and judgment of the situation. For example, her initial distrust of Liu Bei and her compliance with the orders from Sun Wu are choices made after weighing the options. However, these judgments are never positively affirmed in the works.
This kind of treatment is essentially a suppression and denial of female wisdom. If Sun Shangxiang shows political awareness, she is categorized as "interfering in politics" or a "shrew"; if she exhibits emotional dependence, she is seen as "infatuated" or "weak." Any action she takes falls into the narrative logic of "acting leads to blame."
Similarly, in another female character from the Three Kingdoms—Huang Cheng'er (Huang Yueying)—we can see a similar phenomenon. Although she has the legend of inventing the wooden ox and flowing horse, she remains behind the scenes in the narrative, with her wisdom represented by men. It is evident that in the discourse system of the Three Kingdoms, even if women possess abilities, it is difficult for them to achieve subjective expression in public spaces.
The tragedy of Sun Shangxiang lies in the fact that her wisdom is not recognized, her initiative is not respected, and she can only circulate among the roles of "loyalty," "fierceness," and "motherhood," ultimately trapped in the cage designed by the narrator.
Emotional Fractures in Political Marriage
It is worth noting that the emotions between Sun Shangxiang and Liu Bei are not fully depicted in literature. In "Romance of the Three Kingdoms," their interactions after marriage are minimal, with more descriptions focused on external labels like "surprised by her military spirit" and "Lady Sun guarding her chastity like jade." It can be seen that even as a couple, their feelings have never escaped the shadow of politics.
This marriage not only failed to bring emotional stability but also exacerbated Sun Shangxiang's loneliness and estrangement. She married far away in Shu, with language, culture, and environment all different from Wu. Although she had attendants by her side, they served more as a form of "vigilance" and "symbol." She seemed like a "political observer" sent by Wu to Shu Han, yet could not intervene in any affairs, only able to watch quietly.
When Liu Bei left Jingzhou, Sun Shangxiang was "strongly summoned back to her country," and did not receive her husband's protection. Although her attempt to take her son back was ultimately thwarted, the emotional fracture implied within is irreparable: she is no longer a key figure in Liu Bei's political system but gradually becomes a "former interest" on the margins. In the changing power dynamics, her emotions are like floating duckweed, with no roots to rely on.
Her obsession with Liu Shan is not only a natural expression of motherhood but may also be an attempt to resist being "deprived." However, she cannot resist the changes in the political landscape and ultimately is returned to the family system, becoming a political resource that has been reclaimed.
From Cultural Myth to Modern Reinterpretation
In contemporary film and literary works, the image of Sun Shangxiang is also being constantly reshaped. From the cold and fierce woman in "New Three Kingdoms" to the chivalrous female general in "Honor of Kings," she gradually sheds the singular setting of being a "political hostage" and attempts to be portrayed as an independent woman with thoughts and agency.
However, no matter how her appearance is renewed, her history of being "instrumentalized" is still difficult to erase. This is not only the fate of an individual character but also the inertia of writing within the cultural structure—women's value always needs "other's validation," and their actions must be compatible with "patriarchal narratives" to be recognized.
To break this cycle of fate, it is necessary to give women true discourse power in retellings, rather than merely moral labels or emotional attachments. Sun Shangxiang is not "sister of Sun Quan" or "wife of Liu Bei"; she should also be a will and soul independent of the gaps in history.
When we revisit the images of her "entering Shu with weapons," "holding her child on the boat," and "drawing a sword at the wedding tent," we might not ask "why she left her home," but rather understand "why she has always had no place to call home." She is not a disaster, not a loyal wife, not a grieving mother, but a female soul yearning to be heard in a chaotic world.