Female Images in Four Classical Novels

Title: The female images in China's four classical novels came back from other places, from conventions, from "nothing", from the wilderness where witches still live, from the hidden layer and the other side of culture, and from the childhood when men tried their best to make them forget and go to see Yan. -[France] Elena Sisu In recent years, feminist literary criticism has brought a whirlwind to the world literary world, making people look at the history, present situation and future of literature from a brand-new perspective. This topic focuses on criticizing the female images in classical literature, especially in male writers' works, with the main purpose of revealing the historical, social and cultural roots of women's subordinate position in literary works. 1. Women in feudal times 1, women from the Han, Wei and Six Dynasties to the Tang Dynasty-"Marry first, let things change" From the Han, Wei and Six Dynasties to the Tang Dynasty, women's living environment was relatively relaxed. There is a passage in Ge Hong's Biography of Bao Puzi. Misunderstanding is devoted to the "misunderstanding" of women's intercourse in the Western Jin Dynasty: "Today's vulgar women should stop raising silkworms and abandon their mystery. If you don't do this, the city will dance. Give up the feedback and fix the good things. I am obedient, suitable for my relatives, and eager to pass on from generation to generation. More attendants, more servants, more servants, more servants, it's disgusting. Or stay at his door, or risk spending the night. Play Buddha city, watch fishing boats, climb to the water, and go out to celebrate the hanging. Driving around the city, drinking cups and playing string songs. It' s very expensive and good. " At that time, women were unwilling to cling to the career of women who weaved silkworms and ate and drank, and even more unwilling to live in seclusion in the depths of life. They often hold hands and swim with torches. The Buddhist market is the place where their games flow, and the Zehe Mountain is the place where they miss spring. They not only dare to show their faces in various public places, but also boldly associate with men. They are even close to the point of "sitting in a narrow chair with a cup at hand". No wonder orthodox conservative people want to call them "apostasy". If they meet a handsome guy like Pan Anren on the way to play, they dare to "hang out hand in hand and bear fruit" and play with them in a friendly and affectionate way. In marriage, the adaptation of widows has not been criticized. Wei xelloss married Yuan Zhen, the second son of Yuan Shao, and became a queen. Tang Gaozong married Wu Zetian, the concubine of Emperor Taizong, and became a queen. Xuanzong took his daughter-in-law Yang Yuhuan as his concubine and made her an imperial concubine. 2. Women with fixed Neo-Confucianism in Song, Yuan, Ming and Qing Dynasties-women's morality and restraint (1) have a strong sense of chastity-"I don't serve two masters, and women don't serve two husbands". With the prevalence of Neo-Confucianism, the concept of chastity in Song Dynasty was very strong, and marriage was completely "the fate of parents and the words of matchmakers", so young men and women could not choose their own partners. If a woman disobeys her mother and falls in love freely, once something happens, it will be regarded as a scandal, and her parents will be deeply humiliated and try their best to cover it up. For example, Zhu, a talented woman, rebelled against the feudal arranged marriage, fell in love with her lover and wrote many love poems. However, she finally succumbed to the pressure of feudal ethics and died of depression. Parents immediately burned poems and corpses to eliminate the traces of "infidelity". (2) The criminal law is unequal. Song Dynasty Penal System: "Seven banishments, obedience, childlessness, two debauchery, three failure to serve uncles and aunts, four mouths, five thefts, six taboos and seven vicious diseases". "Those whose wives and concubines have been divorced for two years, so those who remarry will be given second class". "Wife husband, ACTS for a year. If the severely beaten person is injured, it is a third-degree injury and the deceased is beheaded. Criminals, concubines, each wait. " And "those who hurt their wives are reduced to mortals, and those who die will die." If you break your wife, you will lose your wife. "Second, the tool of political struggle-the female The Story Of Diu Sim in the Romance of the Three Kingdoms: There is a convention of the so-called' four beauties' in ancient China literature, but if we make a comprehensive investigation, we will find that The Story Of Diu Sim in the Three Kingdoms is the most lacking personality and disgraceful of the four beauties. According to the Romance of the Three Kingdoms, The Story Of Diu Sim was Stuart's maid when Emperor Han presented the emperor. He lost his father when he was young and served in the palace with his mother. After her mother died, she was adopted as an adopted daughter by Wang Yun. She is not only gifted with national colors, but also talented, proficient in history and classics and sensible. At that time, Wang Yun was dissatisfied with Dong Zhuo's authoritarian power, so he used the beauty of The Story Of Diu Sim to alienate Dong Zhuo and his adopted son Lu Bu. Wang Yun first betrothed The Story Of Diu Sim to Dong Zhuo, and then secretly betrothed him to Lu Bu, who was brave and good at fighting, so that The Story Of Diu Sim fascinated them and intrigued them, and finally let Lu Bu marry Dong Zhuo as his concubine. The Story Of Diu Sim, like Shi, is the executor of the honey trap, but there is no sadness that Shi can't love his country and his hometown at the same time in Huansha Ji, and there is no touching description of "flying around Huansha Xikou" and "Qiantang River returning home". Rainbow Zhaojun, she went to live with someone she didn't love, but she didn't show the complicated heart of serving Dong Zhuo first and then following Lu Bu. It was just Rainbow Zhaojun's repeated struggle about whether to kiss the Great Wall or stay in the imperial court, as well as the bitterness of going out beyond the Great Wall and marrying his father and son. After Cao Cao killed Lu Bu, "Cao Cao took Lu Bu's wife and children back to Xuzhou", in a word, ended The Story Of Diu Sim's literary career. Obviously, the authors of the Three Kingdoms don't want to write The Story Of Diu Sim as a person, but only as a bargaining chip in the political struggle. As soon as the mission of alienating Dong Zhuo and Lu Bu was completed, he had to leave the stage quickly. In the Romance of the Three Kingdoms, there are also two honey traps. One is that Kongming used "honey trap" to provoke Zhou Yu, saying that Cao Cao had long been hostile to "Er Qiao", and if Zhou Yure gave "Er Qiao" to Cao Cao, he could retreat Cao Bing. Zhou Yu was furious, so Wu and Shu joined forces to fight Cao. The other is the honey trap of "losing the wife and folding the soldiers". Wu claimed to marry Sun Quan's sister to Liu Bei, secretly trying to harm Liu Bei, so as to suppress the West Shu. But self-defeating, Liu Bei took a big advantage. " In this work, women are willing to use their bodies as bait to seduce men, knowing that they are delicious, as long as they are beautiful, and nothing else. This is the inevitable result of observing and inferring women from male psychology, a narrative strategy of male centralism. "Third, the beauty is a disaster-the woman in the water margin Ma Ruifang suggested that the author of the water margin write three types of women: one is a good-looking young woman represented by Pan Jinlian, Pan Qiaoyun and Yan Poxi; Second, vulgar old women represented by Yan Po and Wang Po; Third, ferocious women represented by female worms and witches. Here, this lecture mainly discusses the first category. In Water Margin, many women are preset as foil symbols by the author. " Their existence aims to set off the hero's image as a' real person', that is, to make men become men, not to express their liberation and the formation of personality consciousness. "Pity is one of them. Therefore, in the traditional "Wu Yang criticism", Xi Shi, Jinlian and Qiao Yun are simplified to a general concept: adulteress. With the progress of the times and the gradual improvement of women's status, it is inevitable for academic circles to reinterpret the female images in the classics from the perspective of human nature. In Water Margin, the woman with the most personality is Shi Po-Xi. Her death is different from that of Jinlian and Qiao Yun, and it is a dignified death of contempt for contempt. Based on Song Jiang, this paper analyzes the words and deeds of Shipo -xi, aiming at discovering the feminist factors embodied in Shipo -xi. Before The Water Margin was published, there were roughly two versions about the death of mother-in-law's daughter-in-law: First, Song Jiang witnessed the scene of her mother-in-law having an affair with a man named Wei Wu, and became an adulterer and adulterer in anger, and died in love; Then there is Gao Wenxiu's zaju "Black Whirlwind Double Contribution", in which Shipo was killed by "drunk" Song Jiang. It doesn't matter to people that Shiva is dead. The important thing is that Song Jiang did it. Then, what Shiva died for is related to the character and honor of "Kokuro". If the author of Water Margin adopts the plot of "love killing", if nothing else, it will obviously conflict with the scene of Yang Xiong killing Qiao Yun. At the same time, it can't show the difference between Liangshan heroes and ordinary heroes. As for the manslaughter of Shiva, it shows that Sung River has no wine, so the savage with a tendency to kill is far from the heroic image, and it is no accident that the author of Water Margin abandoned him. Why do women in the Water Margin die? The author of "The Water Margin" carefully designed the trilogy of the death of Poxi: 1, rest in peace. The twentieth time in The Water Margin wrote: Wang Po heard this and came to see Song Jiang the next day to elaborate on this matter. Song Jiang refused at first, and how this woman advised him to set up a mountain, Song Jiang also agreed. In the west lane of the county seat, I got a building, bought something to light a fire at home, and settled down two Yan Poxi girls to live there. From the above plot, we can capture the following information: First of all, pity is not only a gift from her mother to Song Jiang to repay her kindness, but also a tool for her to get money. " From the perspective of feminist theory, women, as a commodity, are traditionally regarded as a function of use value by male-centered society and flow among male alliances as an exchange value. "Of course, as far as Shiva is concerned, her mother has also become a member of the' male alliance', or that married women are alienated by male power step by step and even belong to her. Secondly, Shiva is Song Jiang's concubine kept outside. Cheng: "I am humble, but what can I do?" "However, this is just to help your husband. If you are lame, you can't talk far. " In Cheng Yi's view, Eddie and his concubine, no matter how virtuous and obedient, are just cripples, and they can't go far as fertility tools. The word "cripple" is a contemptuous metaphor for Shiva and other women (concubines). In a patriarchal society, if they want to survive, they must unconditionally dissolve their personality and be willing to be abused by their husbands. However, Shiva did not accept her fate. When others put a halo on Once upon a time in the beautiful song Yasi, she empathized with Zhang Wenyuan, who often followed Song Jiang. "This Zhang Wenyuan is Song Jiang's roommate", "born with fine features, white teeth and red lips. Ping used to only like to go to Sanwa Liangshe, floating around and learning to be handsome. It is also a product of bamboo and silk, nothing. " In the author's pen, one is a "dissolute prostitute" and the other is a "dissolute person". Zhang Wenyuan has neither Song Jiang's fame nor Song Jiang's wealth, but she cherishes two of a kind. "I cherish it very much. Since I hooked up with Xiao Zhang Sanliang, I have never had any affection for this Song Jiang." This is the woman who doesn't want to be a "basket case". She wants to stand up and find her natural emotional home. However, "culture does not allow women to recognize and satisfy their basic needs of growing up and realizing their potential as human beings, that is, the needs that their gender roles cannot stipulate." In this novel, there is another woman whose fate is similar to that of Xi Shi, that is, Jin Cuilian, who is in sharp contrast with Xi Shi. After Jin was rescued by Lu Da, he went into exile with his father in Yanmen County, Daizhou, and lived a luxurious life. Jin Cuilian thinks this is heaven. From her words of gratitude to Lu Tihai, "If it weren't for the benefactor's help, how could it be today", we can see her gratitude and perseverance to Mr. Zhao. If Shiva is as easy to satisfy as gold and is at ease as the outer room of Sung River, I think under her mother's management, the days of being jeweled and wrapped in silk may last forever. Therefore, the pursuit of female sexual needs prohibited by feudal culture is the first step towards destruction. 2. The power to publicly provoke her husband. The second step of Shiva's gradual death was threatening to force Sung Jiang to write a divorce certificate and openly admit her relationship with Zhang Wenyuan. Through Wang Po, Shiva's ownership was transferred to Sung River by her mother, which made her secretly associate with Zhang Wenyuan. However, she didn't go to extremes to murder Song Jiang like Jinlian, nor did she take pains to deal with two men like Qiao Yun. She just deliberately alienated and snubbed Song Jiang, hoping that Song Jiang could get rid of herself, because the Criminal Law of the Song Dynasty stipulated: "If a wife and concubine leave without permission, she will only serve for two years, so if she remarries, she will be awarded second-class merit." However, Song Jiang adopted a policy of procrastination, but she never got what she wanted: "It's not my parents' wife. What if he doesn't love me and I'm not provocative? "I just don't come to the door." Later, she seized the handle of Song Jiang (Chao Gaixin) and took the initiative to force Song Jiang to agree to write a divorce certificate. "First, you can return my certificate from today; Write another piece of paper, let me remarry Zhang San, and dare not care about it again. " This kind of behavior with female consciousness awakening symptoms is the biggest blasphemy against her husband's right to pity. In the male-centered feudal society, "when a husband becomes a wife", "a husband has a reason to leave his wife", while "a wife has no intention to leave her husband", not to mention concubines with lower status. Shiva knows the middle way very well, and she wants to add weight to herself with classical letters. However, she chose the wrong person. Song Jiang is a benevolent gentleman. It is suicide for a humble woman to offend such a great husband as Song Jiang. What's more, if Song Jiang admitted her relationship with the adulterer, "My wife and son are separated, but my husband is married", even if Song Jiang was not embarrassed, the author of Water Margin would be keen on Song Jiang. In other words, Shiva's words and deeds hurt men's dignity, including the author of Water Margin. "Men can be killed but not humiliated." Wives and concubines are men's private property and cannot be coveted by others. Men can tolerate the humiliation of their legs (this is the normal result of the struggle between men's strength and weakness), but they must never allow others to snore in their wife's bed. Therefore, although Song Jiang promised to give up, the water margin author and even the men at that time would not agree. I pity death. 3. Die of greed. The old woman took it for granted that Sung River got one hundred and twenty gold from classical letters, so she forced her to ask for it, which was quite the color of modern couples asking for property division when they divorced. Here, the author of "Water Margin" deliberately arranged a game: on the one hand, Song Jiang, as a righteous prefix, arranged to return all the money to Chao Gai; On the other hand, he persuaded the old lady not to believe him: "Men are greedy for money, but flies see blood." He asked someone to send you gold. Did you turn it around? This is like farting! As a public figure,' that cat doesn't eat fishy?' In front of Yan Luowang, there must be a ghost that has not been put back! "Lead to the escalation of contradictions between the two sides. The old woman was in a hurry and threatened Song Jiang with the newspaper officer. The unbearable Song Jiang was angry at the moment and naturally killed the damn woman. Moreover, the author has thought out a retreat for Song Jiang, either running away or surrendering to the official, but he will never worry about his life. The husband killed his concubine, and the Tang law stipulated that he was only sentenced to exile, but Song committed it. In this way, Shiva went to death step by step. In the final analysis, compassion is self-destruction. First, there is not enough research on the legal system; Second, I don't know enough about Song Jiang. The author lent her the word "force". Most of the heroes in Water Margin were driven to Liangshan. Lin Chong was forced by Gao Yanei, while Song Jiang was forced by Shiva. Of course, if you want to find the difference between Shiva and Xi, it is necessary to compare her with those who are labeled as prostitutes like Jinlian and Qiao Yun. For the sake of brevity, I delineated these three women in the plot of Water Margin. These three women live in an era when women are extremely bound by etiquette. Their blood is still full of the wildness of life. In order to pursue the sex that husbands are unwilling or unable to give, they all died by the sword of their husbands (or their families). This undoubtedly declares that women's pursuit of sex cannot go beyond their husbands' power. But these three women took three different paths before marriage and sex, which made their causes of death slightly different. Pan Jinlian died of its poison. Pan Jinlian, who was born as a servant girl, showed great courage when she refused to have sex with her master by force, but she also paid a heavy price for it and married Wu Dalang, who has a golden tongue. Wu Da may be a good man, but he is by no means a qualified husband. Later, Pan Jinlian liked Song Wu, but Song Wu didn't love her. Later, she met Ximen Qing. In the face of a seemingly divorced marriage, at the instigation of Ximen Qing, she chose an extreme treatment-killing her husband. Wu Da's loyalty and tragic death reflected Pan Jinlian's recklessness and hatred in pursuing his own pleasure. Jinlian is a dead end in any era. Qiao Yun is a remarried widow. According to Cheng Yi, she is a "disgraceful" person. Yang Xiong gave her a second marriage, which made her carefree. She should be grateful and serve Yang Xiong faithfully. However, due to professional restrictions, the husband who "doesn't care about women" can't satisfy Qiao Yun. So, she found the destination of lust in monks like the sea. These two people are indispensable to Qiao Yun. She wants to serve Yang Xiong, which coincides with the sea. In the feudal society where men can have multiple wives and women can only marry one wife, it is impossible for smart clouds to come from two men. Therefore, he died of the luxury of life. " The most unequal between men and women is China, where women are overwhelming and women's rights are developed. Just like Pan Jinlian, she must be written as a maid; Yan Poxi, will write it as a prostitute; Pan Qiaoyun, be sure to write it as a wife: thanks to the grass, pen and ink will not be rude. ..... China's feminism, hair and early resistance to temples; Naian is comparable to Darwin. "From the comments of former people, we may extend it to: the heroine and the adulterer in Water Margin have openly attacked the patriarchal system by different means. Fourth, the tool of lust test-the woman in Journey to the West is still 33 days away from hating heaven; Four hundred and four diseases, acacia is the most bitter. " This sentence in Buddhist classics and the battle banner of western asceticism ideal-victory is conceived in dying struggle-* * show the difficulty of abstinence, indicating that lust is the biggest natural enemy of abstinence to become a Buddha. Therefore, in Buddhist classics and Buddhist literature, stories of beautiful monks emerge one after another, with the purpose of revealing the difficult and respectable course of monks overcoming the temptation of lust and heading for the western paradise, and guiding believers to see through the world of mortals and convert to Buddhism. "The women in the Journey to the West (except Guanyin Bodhisattva) are mostly used as tools to test the Tang Priest's desire to become a Buddha. Among the eighty-one difficulties, there are four saints trying Zen, getting married in Xiliang, suffering in Pipa Cave, reciting poems in Thorn Woods, being lost in seven passions, distinguishing between true and false, being trapped in a bottomless pit and getting married in Tianzhu, all of which are closely related to the test of lust. 1, Mrs. Jia and her three daughters-beautiful and rich: Mrs. Jia is old and young, "not shy and beautiful, but romantic as a teenager", and her three daughters, Pearl Krabs, are really "a fairy has been down for nine days, and Chang 'e is cold". Mrs. Jia's in-laws died early, her husband died, and there were no relatives at home. "There are more than 300 hectares of paddy fields, more than 300 hectares of dry fields, more than 300 hectares of fruit trees in mountain fields, more than 0/000 oxen, mules and horses, and countless pigs and sheep; There are sixty or seventy pastures in the southeast and northwest of Bao Zhuang; There are rice grains that were not needed in 1989, silk that could not be worn in 10, and gold and silver that can not be used up for a lifetime. 2. The king of the daughter country-a rare beauty, the wealth of the country: In the daughter country, the gentle and affectionate queen is willing to take Tang Yan as her husband and sit in the south. 3, the demon-I want to think for the Tang Priest: Pipadong scorpion essence: "Although I am not a maid-in-waiting in my daughter's country, I am no more luxurious than wealth, but I am actually at leisure, just reading Buddha and chanting. I am with you, and it is really a hundred years of harmony. "Rat spirit trapped in an empty mountain:" I know you don't eat meat. Because the water in the cave is not clean, I specially ordered clean water from the mountain to make some vegetarian feasts and play with you. "In the face of the temptation of womanizing, Tang Yan was really moved and scared, but from beginning to end, Tang Yan realized that he was a monk and he was a real saint. Therefore, we say that the women in The Journey to the West are just tools to test the lust of Tang Priest and his disciples. Five, "A Thousand Red Cave, Wan Yan with Sorrow"-Women in a Dream of Red Mansions 1, Overview: A Dream of Red Mansions returns to women itself, but it shows the tragedies of daughters. Under the author's pen, Twelve Women in Jinling are all classified as "unlucky department". Yuan Chun, who chose Fengzao Palace, suffocated in the deep palace, sold Zhongshan Wolf by mistake in Yingchun, was tortured to death, married Tanchun and became a monk. Jia Fu's "Four Springs" will inevitably lead to the fate of "sighing". There are also widows like Li Wan who are "content with the thatched cottage" and "have a dying heart", and their normal human nature is distorted. Miao Yu, who escaped into an empty net to practice her hair, "finally it was dirty and against her will." "And slavery has caused the tragedy of many female slaves. Qingwen's death is directly related to the tragedy of the rebels. She is a slave who sells herself, "to be cheap", but this wild and unruly girl with "higher heart than the sky" has a pungent and clear personality without the bitterness and humiliation of Lin Daiyu. She supported Jia Baoyu's behavior and established a respectful friendship with him. Plots such as "Tearing the Fan" and "Mending the Fur" are the manifestations of this friendship. When she visited the Grand View Garden, generate showed the spark of rebellious character and showed the dignity of women, just like the "Ji Moon" in the night sky and the "colorful clouds" in the blue sky. Yuanyang is a domestic slave. In order to resist Jia She's forced marriage, she vowed before the nobles: "In my life, I am not Baoyu, but Jinbao, Yin Bao, King Bao and Emperor Bao. If I don't marry, it's over: even if the old lady forces me, I can't do it with one knife "(the 46th time). In that era of being a slave, Qingwen's "anti-copying" and Yuanyang's "anti-marriage" were all aimed at safeguarding independent personality and life rights, which shows the value of women's lives. " I miss my eyebrows, but I am honest "(back 1), and the author highly appreciates the" knowledge "of her daughters. 2. Daiyu and Baochai: Daiyu is a poem of the soul, and Baochai is a gorgeous prose. (1) Daiyu: A Respect yourself and others. Sensitive and honest. C is sharp and generous. D is arrogant and modest. Weak and strong. (2) Baochai: A is both talented and beautiful. B gentle and honest. Juan Sheng said in Lu Xun's novel "Regret for the Past": "Women in China are not as helpless as those who are world-weary. In the near future, they will see a glorious dawn. "