Princess Iron Fan (simplified Chinese: 铁扇公主; traditional Chinese: 鐵扇公主; pinyin: Tiě shàn gōngzhǔ) is a fictional character from the Chinese classic novel Journey to the West. She is the wife of the Bull King and mother of Red Boy. She is a beautiful goddess living in an underground cave awaiting her husband's return, but also angry at him for his affair with a foxy vixen woman, Princess Jade Face. She refused to lend the Monkey King (Sun Wukong) her fan to subdue the flaming mountains.
The pilgrims encounter an extremely hostile range of volcanic mountains and can only pass if the volcanoes become inactive. Her fan, made from banana leaves, is extremely large and has magical properties, as it can create giant whirlwinds. Sun Wukong wants to borrow her fan, but she turns him down as the monkey has been on bad terms with her husband before. Sun Wukong, however, is crafty and has ever better tactics for subduing his enemies. He transforms into a fly and flies into her mouth, down her throat, and into her belly. Once inside, the monkey kicks and punches Princess Iron Fan's insides until she is in so much pain that she gives him a fake fan which intensifies the flames instead of putting them out. Having barely escaped from the fire, Sun Wukong returns, pretending to be her husband through shape shifting and obtains the fan. Soon afterwards, the real husband comes home, angry at what has happened, he pretends to be the Pig (Zhu Bajie) also through shape shifting and offers to carry the big fan. Lost in the moment of victory, Sun Wukong carelessly believes the Bull King and hands over the fan.
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Famous quotes containing the words princess, iron and/or fan:
“How doth the city sit solitary, that was full of people! how is she become as a widow! she that was great among the nations, and princess among the provinces, how is she become tributary!”
—Bible: Hebrew Lamentations 1:1.
Said of Jerusalem.
“Industrial man—a sentient reciprocating engine having a fluctuating output, coupled to an iron wheel revolving with uniform velocity. And then we wonder why this should be the golden age of revolution and mental derangement.”
—Aldous Huxley (1894–1963)
“Hard times accounted in large part for the fact that the exposition was a financial disappointment in its first year, but Sally Rand and her fan dancers accomplished what applied science had failed to do, and the exposition closed in 1934 with a net profit, which was donated to participating cultural institutions, excluding Sally Rand.”
—For the State of Illinois, U.S. public relief program (1935-1943)