Appreciation of Peacock Flying Southeast 1 Peacock Flying Southeast profoundly exposed the cannibalism of feudal ethics, enthusiastically praised Liu Lanzhi and Jiao Zhongqing's rebellious spirit of being loyal to love and resisting oppression, and directly entrusted the people's warm yearning for freedom of love and marriage. As one of the great poems of ancient folk literature, Peacock Flying Southeast recorded the true feelings of the people 1,700 years ago with realistic expression. It is a wonderful flower in the art garden and a mirror of history.
On the absurdity of so-called feudal ethics endangering marriage and love from Peacock Flying Southeast
Peacock Flying Southeast is called "the family tragedy in which Liu Lanzhi and Jiao Zhongqing died of double suicide in the early feudal society of China, which vividly exposed the cannibalism of feudal ethics, enthusiastically praised Liu Lanzhi and Jiao Zhongqing's rebellious spirit of being loyal to love and resisting oppression, and directly entrusted the people with their warm yearning for freedom of love and marriage". But after careful scrutiny, I found that this statement is wrong. What caused this love tragedy was not feudal ethics, but family interests, and family political interests crushed their love and marriage.
First, the family background of Liu Lanzhi and Jiao Zhongqing:
Jiao Zhongqing is a small official in Lujiang Prefecture and a civil servant at a young age, so his family is a scholar-bureaucrat, and so is Liu Lanzhi. "After returning to China for more than ten days, the county magistrate sent the media." Later, he even said, "I am a satrap. I have this order and want to settle the righteousness, so I sent it to your door." The status of proposing marriage is higher than that of a person. Therefore, there is no doubt that Liu Lanzhi is also an aristocratic family. Since it is an aristocratic family, it is natural that the political interests of the family come first, and others must serve the political interests of the family.
Second, the marriage period:
Only two or three years, here is not a general term, but an exaggeration to say that I stayed at Jiao Zhongqing's house for a long time. So readers should not understand mistakes.
Thirdly, the rationality of the ancient marriage ceremony system is seen from the mother-daughter dialogue;
Liu's way of treating suitors is to tell her daughter, "You can answer." Knowing her daughter's attitude, Liu Wanyan declined the matchmaker. Yes, this is the essence of the ancient marriage ceremony system. The so-called parents' orders, the words of the matchmaker, the premise must be the consent of the parties, otherwise the parents can not live, the matchmaker can not speak. In ancient times, traffic was blocked, and the official was out of convenience or laziness. In short, there was no marriage registration system at that time. How can we prove that marriage is true and valid? Therefore, with the orders of parents and the words of the matchmaker, the matchmaker of parents is only a witness. There was no DNA technology in ancient times. What if someone abandoned his wife and children? A marriage certificate is a certificate.
Appreciation of Peacock Flying Southeast Part II creates vivid characters through individual dialogue, which is the greatest artistic achievement of Peacock Flying Southeast. The whole poem is "* * * 1,785 words, the first long poem in ancient and modern times. Rainy ideas, repeated, in Chinese miscellaneous about a dozen people, and each Xiao Qisheng, not chemical pen "("Ancient Poetry Source "Volume 4, notes).
Throughout the conversation, we can see Liu Lanzhi's different attitudes and tone towards Zhong Qing, Jiao Mu, sister-in-law, brother and mother. It is in this difference that she can feel her industrious, kind, oppressed and rebellious character. Similarly, in Jiao Zhongqing's words on various occasions, we can also feel his honest and weak but developing character, loyal to love, discerning right from wrong but being forced by his mother.
Liu Lanzhi is a beautiful image carefully created by the author. She is not only a lady and a good wife, but also a woman with distinct personality: brave, strong and full of rebellious spirit. Lan Zhi used "it's too late for adults" to expose her mother-in-law's intentional faults and difficulties, and used "please come back" to express her resistance. Saying goodbye to Zhong Qing, she expressed her deep affection for her husband and clearly realized that "coming back" was an illusion. "Strict makeup" is an exaggerated description, which shows her calm attitude and "unparalleled exquisiteness". When bidding farewell to her mother-in-law, she was neither humble nor supercilious, and her words were a protest against her arrogant attitude. In Vow, she expressed her loyalty to love with a heartfelt oath. "Rejecting the media" is a revolt against feudal ethics. In the face of her brother's forced marriage, she showed a sober estimation of the future and contempt for her brother's arrogance by allowing her to get married. The oath of Meeting in the Grave is full of deep love for her husband and the courage to fight against feudal parents. "Lift yourself to the pool" is the sublimation of Lan Zhi's rebellious spirit. In the sharp conflict between love and feudal paternalism, Liu Lanzhi's artistic image shines brilliantly.
Jiao Zhongqing is another important image in the poem, and the author shows that he gradually becomes stronger from weakness. He began to have illusions about his mother. When his fantasy was destroyed by the cruel reality, he resolutely showed his mother his determination to die of double suicide, and expressed his love and resistance to feudal paternalism with Hanging from the Southeast Branch. His change deepened the criticism of feudal society.
In addition, Jiao Mu's overbearing and violent, Liu Xiong's cold and selfish, and his greed for money and potential are all vividly written. In a word, portraying the characters in sharp conflicts is the main feature of this narrative poem.
In the poem, before Lan Zhi and Zhong Qing died, Lan Zhi pretended to agree to remarry. After Zhong Qing saw Lan Zhi, he went home to say goodbye to his mother. Their words at this moment are very suitable for their respective identities and situations. Chen Ruoming's Selected Ancient Poems of Caijitang once made such a detailed analysis: "Lan Zhi is not a white mother, but a white mother, a woman is a mother, and a son is a mother. It feels different. A woman who follows her husband is also afraid that her mother will be on guard. Her mother has a brother, but she can die. Son or wife, which is more important than mother? And what is mother's death, can it be white? With the dead, love also. Don't let each other down. Women pay with death, so don't they die with peace of mind? When you were together, the mother regretted it and welcomed her daughter, but it is still possible that both of them are not dead. However, Tara refuses to welcome a woman. She can't die. Therefore, there is a difference in the words of white mother. Today, the child has made it clear in four words. Today, cold is like a rock, unknown so. I'm also afraid that my mother will feel defensive about me. If the official is a white mother and the mother is unguarded, then this woman will be gone for a long time. He won't die tomorrow, but what is it to die alone today? However, it is not necessary to say that this resentment is true. So, I answered with the boss's daughter to comfort her. However, government officials are all white mothers, and it is not said that women will change their fitness. They refuse to change if they don't say that women want to die, and welcome women. If they show true feelings, they will stop me from dying. " Imagine that if Lan Zhi said she would die, this weak woman would be bound by violence and forced to get married.
The analysis of the above quotations shows that the situation in Chongqing is naturally different from that in Lange. Another example is: "I have been angry for a long time. How can you be free?" And "how can a boy help a woman if he is fearless?" You can see the arrogance of Jiao Mu here. "Why don't you plan to! Marry a government official first, then a husband. Is Thailand as glorious as heaven and earth? Don't marry Yi Langti, want He Yun? " This shows Mr. Liu's snobbery. Even the short conversations of matchmakers, government officials and other minor figures are in line with their identity and characteristics.
In poetry, the concise description of characters' behavior is helpful to the vividness of images; Exquisite lyrical interludes enhance the charm of the works. "When the rooster crows outside, the bride wears strict makeup. I embroider a skirt, and everything is four or five ways. "I wrote the ambivalence when I left Jiao's family. She wants to get up at dawn, which shows her determination not to live in Jiao's house. Strict makeup is her protest and demonstration of focusing on her mother. When dressing up, everything is mixed, showing her delicate psychology of loving Jiao Zhongqing and reluctant to leave. "When I said goodbye to my sister-in-law, tears rolled down her eyes." Sister-in-law is not easy to get along with, and Lan Zhi has a harmonious relationship with her sister-in-law, which shows that she understands etiquette and is easy to get along with. This is in contrast to the burnt wood. Besides, Lan Zhi's stubbornness can also be seen when she gave up her mother's tears and her sister-in-law's tears. The same is true of Jiao Zhongqing's image portrayal. He sent Lan Zhi to the door of the road, "dismounted and got on the bus, bowed their heads and whispered", showing a true feeling. It is said that getting married, "it doesn't take two or three miles to eliminate worries", and the poem uses "horse sorrow" to set off his intense inner pain. Before he died, he sighed in the empty room and moved to the house. He was still taking care of his mother. Here, he becomes more and more honest and kind.
There are some similar action descriptions in the whole poem. Although there is not much pen and ink, it is very essence. When Lan Zhi died, he did not hesitate to "take off his skirt and silk shoes and lift himself to the pool"; When Zhong Qing died, he took care of his mother, "wandering under the courtyard tree and hanging the southeast branches." These different action details are suitable for their respective personalities and situations. The same mother, Jiao Mu, became furious after hitting the bed. When Liu Mu saw Lan Zhi coming home, she was both surprised and gentle, which is very vivid for describing her character. Lyric interlude is less than action description, but it is also a successful pen. When Lan Zhi and Zhong Qing broke up for the first time, the author couldn't help sighing, adding a tragic atmosphere. "Life is death, hate is that", which makes the finishing point and arouses people's concern and sympathy for what happened to Liu. Even at the end of the poem, there is a strong lyric meaning, full of the author's sympathy and expectation. These natural and seamless lyric interludes play a wonderful role in shaping the characters and increase the emotional color of the whole poem.
It is particularly noteworthy that the use of metaphor and romance in this poem has played a very important role in shaping the image. The author's feelings and ideological tendencies are clearly expressed through this artistic method. At the beginning of the poem, "Peacock flies southeast, wandering five miles" is a kind of "xing" technique, which is used to arouse the love of harmony and decorate the atmosphere of the whole article. In the last paragraph, in the cemetery where Liu Hejiao was buried together, the branches and leaves of pine, cypress and phoenix trees were hidden, and Yuanyang sang all night. This not only symbolizes the immortality of Jiao Liu and his wife, but also symbolizes their eternal grief and accusation. From the realistic double-burial portrait to the portrait of a pine, cypress and mandarin duck symbolizing eternal love and happiness, it shows the people's belief that freedom and happiness will inevitably come in the future. This is the romantic development of Liu Jiao's image, shining with incomparable ideal brilliance, which makes the whole poem have a qualitative leap.
Ancient poetry began with birds, animals and plants, not at will. Using the words "Peacock flies southeast, drifting five miles" in Peacock Flying Southeast should have the function of setting off and rendering the atmosphere and symbolic significance. It not only symbolizes the end of Liu Lanzhi and even Jiao Zhongqing's life, but also sets off and renders the sad atmosphere that Liu Lanzhi's life is about to die. It has a sad, unbearable, pitying, uneasy and nostalgic music rhythm. In the action and scene of Fly Away, this rhythm makes people feel sad but not desperate, makes people feel sad, and seems to make our souls get peace. Why is this happening? I don't care much about the reason why Liu Lanzhi left. Let him have moral principles, personality and so on. Everyone can find a specious answer in his own reading field of vision. What I value more about this picture is the process of her disappearing from our reading sight bit by bit, and why this process gives me such a reading feeling. The important thing is to "go to the southeast". Went to the southeast of Liu Lanzhi, is a tragic body. Why did I read the peaceful touch of my heart in the tragedy of my life, so that I only left a peaceful sigh at last? Does this have anything to do with the poet asking her to "go southeast" and Jiao Zhongqing to "hang the southeast branch"? Poet, what kind of personal position does he want to tell me?
The overall grasp and hierarchical division of the appreciation content of Peacock Flying Southeast Part III (1);
The whole poem can be divided into five parts according to the development of the story. The first part (which I didn't agree with at the beginning) is about Lan Zhi's confession to Zhong Qing, which reveals the sharp contradiction between her and her mother-in-law, and expresses that she can't stand it and is willing to be sent back to her family. Zhong Qing pleaded with her mother, but she resolutely refused. It is a foregone conclusion that Lan Zhi left Jiao's home.
In the second part (from the silence of officials to mutual affection), I bid farewell to Jiao's family and Zhong Qing sent her back. When they parted, they made an oath.
The third part (from Shangjiatang to Deng Yu County) describes that after Lan Zhi returned to her family, the county magistrate and magistrate sent someone to propose marriage. Under the intervention of her brother, Lan Zhi was forced to agree to the marriage of the prefect, who made preparations for the wedding.
The fourth part (from grandma's name is A Nv to hanging Southeast Branch) is written as the wedding day. In the evening, Zhong Qing came, Lan Zhi and Zhong Qing said goodbye, and they met to fight to death. At night, Lan Zhi drowned and Zhong Qing hanged himself.
The fifth part (the last paragraph) describes that Jiao and Liu buried Zhong Qing together and they became mandarin ducks.
Story significance: A young couple who deeply loved each other were separated alive under the obstruction and pressure of feudal parents, and finally both gave their lives to defend their love. This story is easily reminiscent of four ancient folk love myths and legends in China: Cowherd and Weaver Girl, Seven Fairys and Yong Dong, White Snake and Xu Xian and butterfly lovers. The heroes and heroines in these stories are congenial to each other and hope to live a happy life together, but the powerful destructive forces from outside will not let them go easily. These destructive forces have so-called jurisprudence in their eyes, but they can't see love. Jiao Mu in Peacock Flying Southeast is even more unreasonable, because she doesn't like her daughter-in-law, so she has to be driven away, and her son's pleading can't impress her at all. In her, the feudal parents' violation of human nature was exposed completely. Reading this poem today, Liu Lanzhi and Jiao Zhongqing's words and deeds of being loyal to love and bravely defending pure love are still shocking.
(2) Character image analysis:
Liu Lanzhi, the heroine, is beautiful, intelligent and diligent. She knows this book like the back of her hand. At the beginning of the poem, thirteen can weave, fourteen can learn to tailor, fifteen can play, and sixteen can recite poetry books, which immediately touched the readers. As the story unfolds, this impression is constantly enriched and strengthened. For example, it means cutting onion roots, with Dani in your mouth. Chinese odyssey with thin steps. Shows her outstanding beauty. Next, the county magistrate and the prefect sent people to her house to ask for relatives, which also showed her beauty from the side. Another example is that the rooster enters the weaving at dawn and can't rest for three days every night to break five embroidered skirts and sweaters, which shows her diligence and ability. When she said goodbye to Jiao's mother, although she complained about Jiao's mother, she finally said that she would go home today, miss her mother and work at home. When she said goodbye to her sister-in-law, she said that she was thrifty and thrifty. In her gentle words, I saw her kindness and understanding.
Lan Zhi is loyal to love and is not moved by wealth. Zhong Qing sent her home. When they said goodbye, she compared herself to a silky Pu Wei and Zhong Qing to a quiet rock, expressing her loyalty to love. Later, she did it. After returning to her mother's house, the county magistrate and the satrap came to ask for relatives one after another, but they failed to impress her. Finally, in the case of refusing to get married, she defended her love with Zhong Qing with death.
At the same time, Lan Zhi also has a very valuable place, which is supercilious, clear-headed and resolute in action. In the preface before the poem, it is said that she was sent by Zhong Qing's mother, while at the beginning of the poem, it is written that she proposed to leave Jiao's house. Of course, she won't let Jiao's mother send her back to her family for no reason. It was probably Jiao's long-term criticism that made her realize that Jiao's mother didn't like herself at all, and no matter how hard she tried, she wouldn't win her heart. Even Jiao's temper has become worse recently, and she has hinted or told Langer that she doesn't want to be a daughter-in-law anymore. However, judging from the words of Lan Zhi's request to Jiao Zhongqing, it seems that she can't stand Jiao Mu's unreasonable accusation and asks to return to her family. This is an outbreak after a long period of tolerance and obedience. Her words were discontented, firm and unabashed. Later, Jiao Mu also told Zhong Qing that this woman had no manners and deserved it. Although Jiao Mu's evaluation of Lan Zhi is inevitably biased, it also reveals that Lanzhi is really not a kannika nimtragol at the mercy of others. Saying goodbye to Jiao's mother, she said that when she was a daughter, she was born in the wild. Since there is no lesson and shame, it also makes readers vaguely realize that Lan Zhi is not a standard daughter-in-law image in feudal times. Later, in the face of his brother's marriage, Lan Zhi further showed calm, decisive and expressionless personality characteristics. From this perspective, the image of Liu Lanzhi is unique in the female figure gallery of China ancient literature.
Compared with Lan Zhi, the hero Jiao Zhongqing's personality is not so rich. Being loyal to love and daring to die for it are the most prominent aspects of his character. He resolutely responded to his mother's threats and inducements: You gave this woman today, and you will never want it again! Jiao's mother forced him to send her back to her family, which was helpless. According to the social custom at that time, he could only do so. Today's readers can hardly blame him for his weakness. He lingered under the court tree before hanging himself, which was in line with his special situation-he was the only child in the family, and no one could fulfill the responsibility of supporting his mother. So he can't be considered weak and indecisive.
The burnt wood is a prominent negative image. She is an extremely arrogant and unreasonable woman who doesn't understand or sympathize with Lan Zhi's virtue and Zhong Qing's love. Facing Zhong Qing, she threatened in an instant: I have been angry for a long time, how can you be free! The boy is fearless. How dare he help that woman! After a while, he was coaxed: the master has a virtuous daughter who calls herself Qin Luofu. She is extremely pitiful, and her mother begs you. Carrot and stick, the purpose is to let Zhong Qing off Lan Zhi, get rid of his eyesore.
Another negative image, Liu Xiong, is grumpy and submissive. He said to Lan Zhi: Why not measure this plan? Marry a government official first, then a husband. If heaven and earth are good, then glory. If you don't marry Yi Langti, what rhyme will you want? Why not test it! A rude reprimand, domineering tone. Marrying a government official first is enough to honor you. Commenting on these poems, Shen Deqian said, "I am a villain, but I worship wealth. I don't care about etiquette and justice. I really have this tone.
(3) The article features folk songs:
First, the poem begins with the loss of a peacock's spouse and ends with a pair of ducks flying together. This technique of comparing beautiful birds with lovers is often used in folk songs.
Second, many places use floor paving technology. At the beginning of the poem, Lan Zhi said: At the age of thirteen, he can weave vegetarian food, and at the age of fourteen, he can learn to make clothes. Fifteen plays, sixteen poems and seventeen wives. This is a vertical exposition, concise and clear-cut. It is intended to emphasize that Lan Zhi was smart, versatile and well-educated since he was a child, suggesting that Jiao Mu was unreasonable to drive his daughter-in-law away. When he left Jiao's home, he also elaborated in detail: Embroider a skirt with me, and everything will be split in half. My feet are on tiptoe and my head is shining. Chinese odyssey with thin steps. Lan Zhi's clothes, shoes and accessories, posture and appearance are deliberately written here. This is a horizontal exposition, which not only helps to show Lan Zhi's strong, calm and lingering rich inner activities, but also reveals the creator's sincere sympathy and praise for Lan Zhi. At the back, it says the parade of the Taishou family: jade bird and white fish boat, four-cornered dragon and graceful wind. Although there are four or five hundred people, they are under the county seat. The discussion here shows the wealth of the satrap, and also implies the noble character of Lan Zhi who is not greedy for wealth and loyal to love.
Third, make good use of metaphors. The monarch is a rock, my concubine is a reed, and the reed is like silk, but the rock has not moved. This statement is consistent with the above oath, and with the following two feelings, which can be said to be a farewell oath. This remark comes from Lan Zhi's mouth, which means that he has deep feelings and will never change his mind. However, when things took a turn for the worse, due to misunderstanding, Zhong Qing revisited Lan Zhi's oath, but changed it to: the rock is square and thick, and it can die for a thousand years; Puwei sewed for a while, and then it was overnight. The common ground between the two metaphors has become a divergence, which has played a great role in the development of the plot and the characterization of the characters.
(4) Question asking:
(1) Why did Lan Zhi dress up when she left Jiao's house? Why didn't she cry in front of Jiao's mother, but in front of her sister-in-law?
Lan Zhi got up early in the morning and began to dress up, trying to find out why. On the one hand, she wants to show her best image to Zhong Qing and let him remember herself as a souvenir of their married life. On the one hand, she didn't want to show weakness to Jiao Mu, and dressed herself carefully, as if to show Jiao Mu that she never thought she was wrong. The poem says that when she dresses up, everything is divided into four or five points, which somewhat reveals her inner chaotic emotions.
When Lan Zhi said goodbye to Jiao's mother, she didn't cry. Instead, she said something that was in line with the facts and was slightly dissatisfied. She shed tears when facing her sister-in-law, showing her strength and reason.
(2) Many places in the poem pay attention to the care before and after, which makes the development of the story appear real and natural, and the structure of the whole poem also appears very compact. What are the places that are both before and after?
At the beginning of the story, Lan Zhi said to Zhong Qing, "Thirteen can weave, fourteen can learn to be a tailor, and seventeen is a gentleman's wife." Liu Dawei was shocked to be sent back to her family. She said, "Thirteen can teach you to weave, fourteen can tailor, and seventeen can get you married." In this way, she repeatedly used a series of parallelism sentences, which not only echoed the previous remarks, but also emphasized Lan Zhi's innocence and injustice. Later, when he was writing Lan Zhi's wedding dress, he wrote: With a knife ruler in his left hand and silk in his right hand. Embroidered skirt in the morning, light clothes at night. These words highlight her ingenuity and take care of the sentence "learn to make clothes".
At the beginning of the story, when Zhong Qing pleaded with Jiao Mu, Jiao Mu said: The master has a virtuous daughter who calls herself Qin Luofu. She is extremely pitiful, and her mother begs you. At the end, when Zhong Qing bid farewell to Jiao Mu before committing suicide, Jiao Mu said: There is a virtuous girl in the master's house, and the city is beautiful. My mother is looking for you. It will be dangerous.
When she left Jiao's family, she took pains to describe her dress, appearance and posture in her poems, which paved the way for officials and families to come to ask for relatives after returning home.
Zhong Qing sent Lan Zhi home. When they said goodbye, Lan Zhi said: You are a rock, and the rock has not been transferred. Later, Zhong Qing mistakenly thought that Lan Zhi made a solemn oath when climbing the branches, saying: If the rock is thick, it will be overnight.