Your husband is not worthy of you!

“Your husband is not worthy of you!” is an expression of romantic opposition in the story, most directly associated with Chu Fei’s refusal to accept Su Xiangwan’s marriage to Lu Xun. The statement does more than criticize a husband’s suitability: it gathers the novel’s competing standards of love, dignity, family, power, and protection around Su Xiangwan, while the narrative simultaneously presents Lu Xun as a man whose status and abilities make the judgment difficult to sustain at face value.

Origin and Immediate Context

The expression emerges during a period when Su Qingrou is trying to secure support against Lin Yanche. She tells Su Xiangwan that she and Jin Zhengnan may first hold a small engagement ceremony, primarily for the benefit of their two companies, and reassures her sister that they are no longer fighting alone because Chu Fei is also on their side. The conversation places marriage within several overlapping systems: affection, corporate interests, family alliances, and protection from an abusive opponent. Su Qingrou’s proposed engagement therefore provides the immediate family setting in which Su Xiangwan asks whether Chu Fei will attend her own wedding.

Chu Fei’s answer is not a conventional refusal of an invitation. He says that he cannot bless Su Xiangwan and does not want to watch her walk toward a grave. After a further pause, he states, “I don't think your husband is worthy of you!” The expression thus arrives as the culmination of a warning rather than as casual teasing. Its imagery treats the marriage as a dangerous path and casts Chu Fei as someone claiming the authority to recognize a threat that Su Xiangwan may be unable, or unwilling, to acknowledge.

Chu Fei’s Judgment and the Marriage It Opposes

Chu Fei’s hostility toward Lu Xun is intensified by his own attraction to Su Xiangwan. In a later confrontation, he explains that a woman who appeared to be a close relative to him was not actually related to him, and that he liked her deeply; for that reason, Lu Xun is an eyesore in his view. He also distinguishes pursuit from coercion, saying that he does not force a woman and prefers the process of chasing her, ideally for as long as possible. The expression therefore carries both a protective claim and a possessive rivalry. Chu Fei presents himself as respecting Su Xiangwan’s choice while openly positioning Lu Xun as the man who has taken the place he wants.

The surrounding narrative complicates Chu Fei’s assessment. Su Xiangwan has already asked Lu Xun for a divorce, declaring that she will take none of his property or alimony and will convert his five hundred million in capital into shares to return it with interest. Her proposal treats the marriage as a transaction that can be unwound through a precise accounting of money and obligation. Lu Xun rejects that logic with contempt, reducing the value of the marriage to the question of whether Su Xiangwan believes she is worth five hundred million merely because he has slept with her several times. The exchange exposes a stark imbalance between her attempt to reclaim autonomy and his tendency to measure intimacy through possession, capital, and sexual entitlement.

The expression also exists against more severe evidence of Lu Xun’s conduct. Lin Yanche threatens Su Qingrou with harm to Jin Zhengnan if she leaves his manor, while Su Qingrou’s body bears deep and shallow kiss marks. Later, Mo Beiyu condemns Lu Xun for torturing a woman until she faints beside the road and calls him a rapist, while warning that Su Xiangwan might otherwise have received a notice to identify a body. These incidents do not establish that every accusation against Lu Xun is identical, but they explain why the language of unworthiness resonates beyond ordinary romantic jealousy: the story repeatedly places marriage beside confinement, coercion, bodily injury, and threatened freedom.

Family Names, Desire, and Boundary Failure

The expression is especially charged because the story repeatedly uses family language to regulate or disguise desire. Lu Xun explains that Shen Yiyun is his cousin, adopted by his uncle, and that he arranged for her to stay near the theater when she came to Cloud City to perform. Su Xiangwan reacts with suspicion because the relationship resembles an earlier pattern involving Song Yuner, where information withheld from her becomes a source of marital distrust. Lu Xun responds by promising to correct his mistakes, but the scene shows how quickly a nominal family connection can become an erotic or marital threat.

Chu Fei’s position is similarly unstable. He is presented as Su Qingrou’s brother and as Su Xiangwan’s relative, yet his statement about liking a woman who only appeared to be a close relative deliberately separates legal or social kinship from blood relation and desire. Su Xiangwan later challenges the same category more directly, arguing that a relative without blood ties is still simply a man and a woman, and that a family structured like Shen Yiyun’s relationship with Lu Xun would leave no prime minister for Shen Hui to manage. Her objection refuses to let kinship labels erase the possibility of romantic rivalry.

Against this contested vocabulary of family, Su Xiangwan sometimes reasserts her marriage in blunt terms. When Lu Xun asks what their relationship is, she pulls off his shirt and answers flirtatiously that he is her husband. The declaration is intimate but also defensive: it identifies Lu Xun amid the many powerful, attractive men around her and gives the marriage a name that competing suitors cannot easily dissolve. Yet the same marriage remains marked by secrecy, unequal power, and repeated challenges to its legitimacy.

Narrative Reversal and Significance

The story itself appears to endorse Chu Fei’s expression before resisting it. The chapter heading announces the phrase as a major judgment, and the narration observes that everyone seems to say Lu Xun is not worthy of Su Xiangwan, while also noting that she has nevertheless married him. This repetition creates a deliberate contrast between collective perception and the heroine’s choice. The question is not simply whether Lu Xun is socially impressive; it is whether status, talent, career, and family background can compensate for conduct that damages trust and autonomy.

The narrative then supplies the counterargument. Lu Xun is described as possessing an exceptional family background, talent, and career, making him one of the most outstanding men in Cloud City. From the viewpoint of conventional prestige, he appears difficult to surpass. The expression consequently distinguishes public achievement from marital worth. A man can be powerful, wealthy, handsome, and socially elevated while still failing the emotional and ethical test implied by being a husband.

Its recurring force comes from that unresolved contradiction. Chu Fei uses the phrase to warn, compete, and claim a superior understanding of Su Xiangwan’s welfare. The surrounding characters and events give the warning substantial weight, especially where marriage is linked to coercion or the loss of bodily freedom. Su Xiangwan, however, continues to name Lu Xun as her husband, and the story does not reduce her choice to ignorance alone. “Your husband is not worthy of you!” therefore functions as both accusation and romantic challenge: it measures Lu Xun against Su Xiangwan, exposes the gap between social eminence and intimate conduct, and turns her marriage into the central arena in which love, protection, possession, and personal agency compete.