actually, it is not. This love relationship still has a strong traditional color, and the image of women has not surpassed the tradition. Poets use "flower buds" with unopened branches to refer to unmarried girls. This image itself has obvious traditional implications. For example, there are many poems in The Book of Songs that imply that women grow up and get married, and in Li Sao, herbs are often used to refer to beauty. In the book coquettish and erotic, Mr. Kang Zhengguo, through analysis and textual research, thinks that this is related to the concept of fertility of the ancients. The ancient culture of China attached great importance to fertility, and the folk often said that "more children are born" and "early children are born", which means this. Therefore, they are associated with the reproductive tasks undertaken by women from the lush growth, flowering and fruiting of plants. [3] Later, the practical meaning of the image-"fertility and reproduction" gradually faded, its aesthetic value increased, and it gradually expanded and solidified into a general term of "female beauty", which included the so-called "vanilla beauty, hibiscus out of water" with "ornamental" and derogatory meanings such as "willow charm, watery flowers, residual flowers and defeated willows".
Dai Jinhua once had an incisive exposition on this metaphor of referring to women with things like "flower buds". She believes that "when the female appearance is materialized into the beauty of hibiscus, weak willow or nephrite, spring onion and golden lotus, the meaning of picking it, folding it, and abandoning it for fun is looming. In this metonymy of the beauty of the human body taking things, sexual desire or sexual relationship has actually undergone a subtle change. It not only expresses or symbolizes a desire for women, but also excludes women's own desires by means of objects. What it shows is not so much the desire of men as the desire right of men. " [4] Therefore, from the images of "bud", "fruit" and "picking" in this poem, we can see the male position contained in the poem. In the whole courtship stage, this position is even more distinct: "girl" has been passive and "boy" has taken the initiative. The poet used the image of "young man", "picking" and "ripe fruit" to express the "active and passive" relationship between men and women in marriage and marriage.
This kind of gender stance can be seen everywhere in Wen Jie's other poems. For example, in the poem Grapes are Ripe, the initiative is also male, and women become the objects of men's "teasing" and pursuit: "The boys stand side by side on the roadside,/the lyre teases the girl's heartstrings". These images clearly reveal the traditional concept of gender. Men are the subject of love, and women are the "objects" pursued by men and the "fruits" he wants to "pick". This shows that although the scene of the times and women's social identity have changed, the way men perceive women's gender has not changed much.
This traditional concept of love was constantly confirmed in many poems at that time, but the poems put more emphasis on the "loyalty" quality of love, and this "loyalty" has gone beyond the simple relationship between men and women, and the object of its dedication has been transformed into a "collective" in the name of work and career. For example, in the poem "After the Ball", Wen Jie tried to praise a new type of loyal love based on labor relations. The poet described: Late at night after the dance, the "pianist" and the "drummer" scrambled to send "Turk Dihan" home. In fact, they "took a fancy to her" and wanted to pursue her. The passionate pursuit of the two, "Do you love the piano or the drum? /haven't you made a comparison? " The poet asked Turdihan to answer, "I made a comparison today last year,/My happiness was decided that day,/Alsi has taken my heart away and taken it to Urumqi Power Plant." No matter how sweet words, they can't shake the loyalty of "Turk" to distant lovers.