Suzhengrui was imprisoned in the manor by Lin Yancheng

The state of Su Qingrou being confined by Lin Yanche at his manor is a defining expression of coercive control in the novel. Lin Yanche does not merely argue with Su Qingrou or attempt to retain her through emotional pressure; he prevents her from leaving, threatens the safety of Jin Zhengnan, and uses the manor itself as an enclosed instrument of domination. Her confinement transforms a broken intimate relationship into an immediate physical crisis, while Su Xiangwan and Lu Xun’s response reveals how private violence becomes a wider family and social confrontation.

Causes and Conditions

Lin Yanche’s confinement of Su Qingrou follows a collapse of trust and a violent struggle over her loyalty. When Su Qingrou tries to leave the manor, Lin Yanche seizes her arm and warns that Jin Zhengnan will never leave the Hospital if she steps outside. His threat makes the mechanism of the confinement explicit: Su Qingrou’s movement is restricted through anticipated harm to another person. She immediately protests that Jin Zhengnan is only her friend and has nothing to do with the dispute, but Lin Yanche treats their shared history and his suspicions as grounds for accusation rather than as matters requiring consent or proof.

The manor is described as the new home of Lin Yanche and Su Qingrou, which gives the imprisonment a particularly disturbing domestic form. A place presented as a shared residence becomes a controlled perimeter guarded by numerous bodyguards. The language of home therefore conflicts with the reality of captivity: Su Qingrou is inside a familiar intimate space, yet she cannot decide whether to remain there or leave it. The arrangement also shows how status and private security can make an unlawful restriction difficult to challenge from outside.

The Confinement and Rescue Attempt

Su Qingrou eventually contacts Su Xiangwan late at night and urgently reports that Lin Yanche has locked her inside the manor and that she cannot leave. Su Xiangwan reacts at once, carrying the information to Lu Xun and telling him that Lin Yanche has gone mad and placed her sister under house arrest. Lu Xun’s response is direct: he orders that he be taken to the manor rather than treating the matter as a private quarrel between adults.

Half an hour later, Lu Xun and his entourage arrive at the entrance, where the bodyguards initially block outsiders from entering. They address Lu Xun as Young Master Lu and ask him not to make matters difficult, invoking the relationship between powerful men rather than addressing Su Qingrou’s freedom. Their resistance turns the rescue into a confrontation between competing systems of protection and authority. Su Xiangwan remains visibly distressed throughout the journey, her palms sweating and her hands fidgeting because every additional moment of Su Qingrou’s confinement feels like further torture.

After several rounds of confrontation, Lu Xun succeeds in bringing his people inside. From a distance, Su Xiangwan sees Su Qingrou seated at the balcony window and rushes toward the house, warning her sister not to act recklessly. The balcony introduces the danger of a possible fall as well as the image of a woman placed behind an elevated barrier. Once the door is opened, Su Xiangwan runs to her sister and pulls at her tear-stained face, reminding her that falling from the second floor would not improve her situation. The rescue therefore begins not with triumph but with emergency containment: Su Qingrou must first be kept from harming herself while still trapped in the consequences of Lin Yanche’s actions.

Bodily Evidence and Immediate Consequences

Su Qingrou is weeping without sound, and Su Xiangwan notices deep and shallow kiss marks on her body. These marks provide visible evidence that the confinement is inseparable from sexual and physical coercion. The scene refuses to present the manor as merely the setting of a jealous dispute; the condition of Su Qingrou’s body shows that control has already crossed into abuse. Her silence is as significant as her tears, suggesting a state in which fear, exhaustion, and humiliation have displaced ordinary protest.

The broader consequences are equally severe. Lin Yanche’s threat places Jin Zhengnan’s life and medical condition under pressure, while Su Xiangwan is drawn into an active rescue and Lu Xun is placed in direct opposition to Lin Yanche. The later accusation that a man who tortured his woman until she fainted by the roadside might have left her dead, together with Mo Beiyu’s denunciation of Lu Xun as a rapist, establishes a wider moral vocabulary for the novel’s controlling relationships. Although that confrontation concerns Lu Xun rather than Lin Yanche, it makes clear that the text repeatedly connects possessive intimacy with bodily danger and legal or ethical violation.

Family Protection and Relational Conflict

Su Xiangwan’s response is shaped by sisterly attachment rather than by abstract judgment. She receives Su Qingrou’s call, becomes immediately anxious, and seeks Lu Xun’s intervention because she cannot tolerate her sister remaining imprisoned. Her movement from the phone to the study, then from the residence to the manor and finally toward the balcony, gives the rescue a clear emotional trajectory: alarm becomes action, and action becomes physical presence beside the captive woman.

Lu Xun’s participation places his marriage to Su Xiangwan alongside the sisters’ bond. He responds to Su Xiangwan’s distress by taking responsibility for reaching the manor, even though the bodyguards’ resistance threatens to turn the visit into a power struggle. His involvement is protective, but it also belongs to a narrative world in which men frequently claim authority over women’s safety and movement. The contrast between rescuing Su Qingrou from Lin Yanche and exercising control within his own marriage prevents the rescue from becoming a simple division between an entirely coercive man and an entirely liberating one.

The confinement also exposes the instability of kinship language and romantic boundaries. Shen Yiyun is identified as Lu Xun’s cousin through adoption rather than blood, and Su Xiangwan later challenges the idea that a non-blood relative is automatically outside the field of sexual suspicion. Chu Fei similarly speaks of a woman who wore the clothes of a close relative while lacking actual kinship, then openly acknowledges his attraction to her. These surrounding disputes make Su Qingrou’s confinement part of a larger pattern in which titles such as sister, cousin, wife, and friend are used to define, disguise, or police desire. Lin Yanche’s conduct shows the most violent consequence of that pattern: a relationship label becomes a claimed right to imprison another person.

Narrative Significance

The state of Su Qingrou being confined by Lin Yanche at his manor marks the point at which emotional entanglement becomes an architectural and bodily fact. The manor’s guards, the locked interior, the balcony, the threat against Jin Zhengnan, and the marks on Su Qingrou’s body convert suspicion and possessiveness into visible mechanisms. The episode also advances the novel’s recurring contrast between marriage as protection and marriage as control. Su Xiangwan’s later insistence that Lu Xun is her husband, even while she is disoriented and vulnerable, shows how marital naming can offer emotional security; the manor episode shows how the same intimate vocabulary can be weaponized against a woman’s freedom.

The confinement therefore matters not only because Su Qingrou needs to be removed from the manor, but because it changes how the surrounding relationships must be read. Lin Yanche’s jealousy is no longer merely a personal flaw, and Su Qingrou’s distress is no longer a private disagreement. Her captivity exposes the legal and moral imbalance hidden inside claims of love, while Su Xiangwan and Lu Xun’s intervention brings the conflict into the open. The state ends as an attempted rescue, but its consequences persist in the novel’s continuing examination of forced intimacy, family loyalty, bodily vulnerability, and the difference between guarding someone and possessing them.