In our daily study, work and life, we often see papers. The thesis is an inferential article that studies in various academic fields and describes academic research results. You had no idea when you wrote your paper? The following is my discussion on the female images in tang legends's works for your reference only. Let's have a look.
Abstract: The love works of tang legends writers mostly describe the love between "beauty" and literati. The love of this kind of "gifted scholars and beautiful women" is much more advanced than the feudal arranged marriage and commercial marriage, which reveals their inner world and fully shows their inner beauty, so that they not only have a beautiful appearance, but also have a clean heart. Most of them are kind-hearted and pure and single-minded in love. This paper analyzes the images of Huo Xiaoyu and Cui Yingying. They are typical images of ancient women who dared to resist feudal ethics and strive for freedom of marriage.
Keywords: tang legends female image is immortal
The Tang Dynasty was the golden age of China's classical literature. The writers of the Tang Dynasty not only left us a golden mountain of radiant poetry, but also left us a rich and colorful treasure house of novel art, which is the short classical Chinese novel of the Tang Dynasty-Tang Legend.
The love works in Tang legends have successfully created a number of vivid female images. This paper attempts to analyze the representative female images in love works.
First, the image of women who have slipped.
Among the female images in the legendary love works of Tang Dynasty, the female images of slip shine with dazzling brilliance. Tang legends writers, like jade carvers, remove ugly stones from women who have lost their feet, endow them with beautiful jade looks and enthusiastically praise their noble qualities. Among these works, Jiang Fang's Biography of Huo Xiaoyu is the most outstanding. This work has always been called the masterpiece of Tang legend. Among them, Huo Xiaoyu is also the most successful figure in the whole legendary works.
Huo Xiaoyu is a beautiful and versatile girl. At the beginning of the work, Xiaoyu was introduced by the matchmaker Bao Shiyi: "I have never seen it in my life; The mood and wind are high, and everything is extraordinary; Music, poetry and books are all incomprehensible. "You can see that she is both talented and beautiful. When she first met Li Yi, she fell in love with this young scholar who was charming and elegant only in appearance. When she was in love, in order to impress Li Yi, she cried and said, "My wife respects family ties and knows that she is not a horse. Today, love places its benevolence and virtue in color. But I am worried that once the color declines, I will empathize with others and let my daughter Luo have no support and fans see the donation. " These words show her fanatical love for Li Yi, and also show the poor status of a dusty woman, which indicates her tragic ending. Two years later, Li Yi finally got peace (was awarded the "Zheng County Magistrate's Master Book"), and Xiaoyu clearly realized that what she was worried about day and night was coming. "Covenant words are just empty talk. "She has no illusions about Yi Li's covenant. If the last time she told Li Yi that she was mainly afraid of losing love, this time she calmly considered her future relationship with Li Yi. She clearly realized that in the society at that time, it was absolutely impossible for a woman of her status to marry Li Yicheng for a long time. As Yi Lee, she fell in love with Xiaoyu because of "expecting wonderful people". Once he became an official of the imperial court, how could he give up the opportunity to climb up step by step and propose to Huo Xiaoyu? So as soon as he got home, he immediately hired his cousin Lushi according to his mother's instructions, tried every means to borrow money everywhere, collected millions and ruthlessly abandoned Xiaoyu. Xiaoyu is not only gentle and affectionate, but also strong and unyielding. She sacrificed her beautiful love and accused her of being heartbroken.
From the above analysis, it is not difficult to see that Huo Xiaoyu's tragedy has its profound social and historical reasons. It is with this image that the author exposes the irrationality of feudal marriage, condemns the evil behavior of the "heartbreaker" and highly praises the immortal love.
Second, the image of aristocratic girls
Another kind of female image in tang legends's love works is the image of aristocratic girls. Through this image, the author profoundly exposed the spiritual shackles and cruelty of feudal ethics to girls, and boldly praised the efforts and resistance made by girls for their free love life. This image is represented by Yingying in Yuan Zhen's Biography of Yingying. Yingying was the daughter of Cui Shi, one of the "three big surnames" in Tang Dynasty. Her family is "rich in property and has many slaves". Yingying was born in such a family and received a good feudal education from an early age. Therefore, it is impossible for her to love with a little wildness and express her feelings freely like Huo Xiaoyu. Feudal ethics regards the legitimate love between young men and women as a scourge, trying to stifle it, but this kind of feeling is like "boundless grass on the grassland, which grows taller in the spring breeze", growing tenaciously under the pressure of feudal ethics. The beauty of Yingying's image lies in the author's profound revelation of this contradiction in the characters' hearts, and a detailed description of every step Yingying took in the struggle between "emotion" and "ceremony", as well as the whole process in which "emotion" finally defeated "ceremony".
However, the tragedy finally came. After painful mental torture, Yingying broke free from the shackles of feudal ethics, but Zhang Sheng gave her a high-sounding look and abandoned her easily. In despair, she got married. She doesn't like Huo Xiaoyu publicly accusing Zhang Sheng of dying for love. When Zhang Sheng wanted to see her again, she didn't see her. She only gave a short poem: "Abandon the present and kiss yourself at that time. I will also pity the people in front of me. " There are indignant grievances, faint sadness and implicit ridicule. This is Cui Yingying-style resistance. The author described Cui Yingying's special character from real life. But from Yingying, we see the shadow of millions of aristocratic girls bound by feudal ethics. Although the author of Biography of Yingying slandered Yingying as a "stunner" from the perspective of feudal ethics, and called Zhang Sheng a hypocrite as a "good death", the preaching was always pale and weak, and the image was flesh and blood. For those who have read the biography of Yingying, the first thing that excites them is Yingying, an image that dares to love and hate. This is probably what the author didn't expect at first. This is the so-called "image" is greater than thinking!
The female images in tang legends occupy a primary position in quantity and quality. Writers poured deep feelings into these images and gave high praise. This is because most legendary writers are intellectuals from poor backgrounds. Although many of them were admitted to the Jinshi, they were not satisfactory in society because of the restrictions of the system. They are proficient, but they have no talent. The experiences of women aroused their voices. In addition, because they were influenced by the thoughts of urban residents (mainly businessmen and craftsmen) and demanded the liberation of their personalities, and there was no cruel literary prison in the Tang Dynasty as in the Qing Dynasty, they were able to boldly describe women at the bottom of society, enthusiastically praise their noble qualities, expose some unreasonable social realities in the Tang Dynasty, and pin their beautiful ideals on individuals and people. Therefore, most of the female images in their works are typical examples of the combination of realism and romanticism. These images established the prominent position of legendary works in the history of China's novels, and had a far-reaching impact on later literature.
refer to
[1] Zhou Chen translated Selected English Versions of Tang Legends. Bashu Bookstore, 1990.
[2]' China Ancient Literature' non-editor. Higher Education Press,1998 June.
[3] The History of China's Novels compiled by Chinese Department of Peking University. People's Literature Publishing House, 1978.
[4] Hu Keshan and others' A Brief History of China Ancient Literature'. Shandong University Press, 1993 March.
[5] Li Jian's Yuan and Ming Zaju. Peking University Publishing House, July 2003.
[6] "A literary theory competition". Shanghai Literature and Art Publishing House, Volume I, 1983.
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