“Injustice to Tou O” by Kuan Han-ch’ing explores and reflects gender roles and family values existed in Yuan society. The play presents the gender roles by including the philosophy on expectations on women, illustrating a male-dominated society and disclosing social discrimination upon women. On the other hand, Kuan illustrates relations and values in family by manifesting the power of men in family, emphasizing the philosophy of filial piety and placing the significance on ancestral worship and lineage. All of these elements of gender roles and family values are introduced in this Kuan’s play, resulting in a valuable piece of work that reflect how society and people perceive about gender and family in Yuan period of China. First of all, throughout the play, “Injustice to Tou O”, Kuan depicts the cultural expectations held upon women by introducing the Three Obediences and the Four Virtues of women. These two philosophical ideas played a vital role in ancient China in influencing how women behaved. When Tou scolds Tou O’s ghost for the crime that she did not commit, Tou explains the Three Obediences are “obedience to [her] father before marriage, obedience to [her] husband after marriage, and obedience to [her]” (Mair, 704). This philosophy itself indicates that women are expected to be always obedient and be subordinate to men. Tou even clearly states that “[he] expected [her] to observe” (Mair, 704) these expectations. In addition, Tou describes the Four Virtues of women as “service to [her] parents-in-law, respect for [her] husband, being on good terms with [her] sisters-in-law and living peace with [her] neighbors” (Mair, 704). None of the Virtues set women in a superior position. Because the Four Virtues were strongly emphasized values in the Yuan China, the women perhaps naturally behaved subordinately as it was virtuous to do so. These obediences and virtues leads to once central expectation held upon on the Chinese women; getting married off was mandatory. Marriage is one of the central themes of this play. It seems that throughout the play, Tou O receives the pressure of getting married. The pressure is already present when Tou O is seven years. This is revealed as Ts’ai is already determined to “make [Tou O] her daughter-in-law” (Mair, 675) when Tou O is just seven years old. This Ts’ai’s early determination of marriage plan exhibits another aspect of expectation on marriage in Yuan China; marriage was taken place from an early age. In Yuan period, it was commonly expected that girls and boys get married at an early age. The play reveals an expectation for wife to be responsible for taking care of her children after her father. This is expectation is revealed when Tou gives out Tou O to Ts’ai and asks her; “please look after [Tou O]” (Mair, 677). Tou further tells Ts’ai to do whatever it takes to fix any Tou O’s mischievous behaviors. This conversation reflects the expectation in Yuan society that it is the wife’s duty to take care of the children after her husband is gone. Since Ts’ai’s husband already passed away, Ts’ai plays a role of being responsible of the children in family. The second facet of gender roles depicted in the play is the male-dominated society that was present in the Yuan China. It should first be noted that in “Injustice to Tou O”, all the perpetrators are men. From Sai Lu-yi, the apothecary, who tries to murder Ts’ai and mixes the poison, Donkey Chang, who frames Tou O to death for his own benefits, and to the Prefect who unjustly sentences Tou O to death, they are all men. This first shows that many professions or occupations are taken by men, emphasizing that men are the dominant figures in society. The fact that all the perpetrators are men reinforces the idea that men have absolute control over women’s course of life. In fact, Tou O’s misfortunate life is indeed the creation of these male perpetrators. Ts’ai tells Tou O tha