Regarding the issue of women with higher education being full-time wives, Lu Xun discussed it as early as 95 years ago. His novel "Morning the Death" is about the love and marriage dilemma of a "new woman". The
novel tells the story of the heroine Zijun, who was born in a big family, and the son of a poor family. Two people fall in love freely, but they have been denied, obstructed and even ridiculed by various people. Zijun and Juansheng, who broke through numerous obstacles, came together resolutely and bravely and established a small family. But this hard-won love was gradually worn away in the trivial daily life of two people. Zijun later returned to his original home and died soon after. The bleak ending of
once swearing to each other and passionate love makes people regret it. While regretful, it also arouses deep thought. How did the
tragedy come about?
Juansheng: The other side of progressive youth is the scumbag.
Affected by the new ideological trend of the May Fourth Movement, the young intellectuals broke through the shackles of feudal families, and zealously pursued the so-called freedom despite the cynicism of the "uncivilized" people, just like two unruly birds flying. Hit a wall on the way to reality.
Juan Sheng is a man who is not responsible: when he was looking for a place to live with Zijun, he was afraid of the eyes of the people in the alley; after living together, Juan Sheng left the housework to Zijun, and then thought that Zijun was completely immersed in Between Ba'ergou and Youji; attribute the economic distress to Zijun and Asui; go to the library alone to warm up in the cold winter but ignore Zijun... The scumbag is hammered.
But when Juan Sheng said to Zijun: "I don't love you anymore", he must not simply regard this as a scumbag quotation. As Juan Sheng said: "Love must be renewed, grown, and created from time to time."
However, the actual lives of the two are full of "emptiness".
"Romantic" cannot stand the world, let alone care.
The perfect love they presupposed can't stand the trivialities under the chai, rice, oil and salt. Juan Sheng began to feel impetuous and increasingly bored. When life comes under greater pressure, they are sad, weak, and at a loss, and happiness naturally vanishes.
Juansheng said, "One must live, love has the beauty." In other words, in Juansheng's view: love is a luxury, and people who have no life are not worthy of having love.
If life is still unsustainable, love cannot grow. So he broke his promise and chose to abandon his former lover.
Juansheng is a progressive intellectual, but also a cowardly intellectual. When a love dies, what Juansheng wants to do is not to remedy, but to escape.
can even say that what Juan Sheng always loves is himself, and what he wants is a very ideal life, not a life with Zijun.
A Sui: A metaphor of tragedy.
Modern Chinese novels are mature in the hands of Lu Xun, and those who are familiar with Lu Xun will be more familiar with this statement. The reason why Lu Xun's novel creation received such an evaluation, in simple terms, is that Lu Xun's skillful use of novel creation skills and his ability to express his ideas freely in the style of novels.
Take "Sorrow for the Past" as an example, a dog raised by Zijun, A Sui, this speechless character is pinning the author's thinking on this tragic story.
first look at the name of this dog. Its name is A Sui, which implies Zijun's attachment to Juansheng.
Secondly, A Sui and Zijun "tolerate every glory, and lose every loss." Junsheng was absent from Zijun's emotions after marriage, and A Sui became Zijun's close companion in life and spirit. And the series of events that happened to A Sui are all related to Zijun's experience this year.
bought it at the temple fair, and was later brought to the wilderness by Junsheng with his head covered and pushed into the pit, and finally returned to Jizhao Hutong by himself. These points of time are exactly when Zijun started to yearn for a new life, the conflicts aroused after being unemployed and working as an interpreter at home, and after Zijun died.
A Sui's encounter implies Zijun's fate.
After Zijun died, A Sui returned half-dead back to the auspicious alley where they once lived. Quite with the meaning of Zijun's "ghost" returning, it was shocked.
Ironically, Juan Sheng did not leave A Sui out of shame to Zijun, he left JiZhao Hutong fled to the hall, and once again abandoned A Sui. This just implies that even if the real Zijun appears in front of Juan Sheng again, they will not be able to rebuild the old good. Juan Sheng's so-called guilt and regret mentality is only temporary.
Zijun: Being a full-time wife has regressed to the traditional female
"I am my own, and none of them has the right to interfere with me!" This is Zijun's resolute attitude towards his father and uncle, and a declaration of resistance to feudal thought. You know, in an era when most people were still imprisoned by old feudal ideas and women were still in a completely disadvantaged era, such remarks were not in line with the so-called "mainstream values", and quite a bit of "running the world". taste.
This not only embodies Zijun's fearless spirit in pursuit of love, but also a sign of Zijun's awakening. Before the advent of the novel, Lu Xun gave a speech on "What happened after Nora is gone" in 1924. It can be said that a generation of young intellectuals at that time was trendy in pursuing individual liberation and personality independence.
Therefore, Juan Sheng can have a common language with Zijun. They "talk about family tyranny, about breaking old habits, about gender equality, about Yibesheng, about Tagore, and talking about Shelley." (Note: Yibesheng is translated as Yi Bu Sheng, a Norwegian dramatist, whose family ethical drama "The Death of Nora" has caused extensive discussion; Tagore, an Indian poet, whose collections of poems have been translated, such as "Crescent Moon Collection" and "Flying Bird Collection", are welcomed by young readers; Xue Lai, a British romantic poet, promoted marriage independence. His famous short poems such as "Ode to the West Wind" and "Ode to Skylark" were introduced to our country after the May Fourth Movement.)
After the two cohabited, they were immersed in daily trivialities. Zijun gradually lost the channel for dialogue with Juan Sheng: "She lost her courage, she just thought of being sad and angry for A Sui, and wondering about cooking; but strangely, she didn't lose much weight."
Zijunman Their minds are cooking, sulking with the landlord’s wife, chickens, dogs... What’s worse, not only did the two have no common language, but Zijun’s figure also changed. Although the living conditions of the two were deteriorating, Zijun was on the contrary. "Red and fat".
What Juansheng likes is the thin Zijun who conforms to the traditional aesthetic before. In Juan Sheng's eyes, Zijun had already lost her female appeal.
So you see, Zijun originally pursued love and freedom, but in the end he returned to the male-centered tradition. She left the feudal family space, but soon returned to another traditional women’s space.
From a certain perspective, Zijun does have the characteristics of a new woman: she is bold, straightforward, honest, and daring to pursue love. The so-called revolution is to start the revolution from oneself.
However, Zijun's acceptance of new ideas is limited to freedom of marriage, and she did not truly understand the part of individual liberation. She still retains the traditional female concept and regards her husband as the center of her life. This is an important reason for the tragedy.
"Independent women" inquiries: economic independence is far from enough.
Lu Xun blamed Zijun's tragedy on economic independence, and there is certain truth in it. As Simon Beauvoir also pointed out in "Second Sex": "Women are basically attached to their husbands through property: when property is cancelled, their status is parallel, and even the connection formed by the children cannot be related to interest. Compared with its stability.” The economic foundation of
is indeed a prerequisite for women’s independence.
But, can "economic independence" be equated with "independent women"?
In 1936, more than ten years after Lu Xun's "Morrowing the Dead" came out, the modern playwright Cao Yu created the drama "Sunrise". Among them, the most controversial character is Chen Bailu. Chen Bailu was also born in a scholarly family and received a good education, but for the so-called freedom and independence, she became a socialite.
Lu Xun predicted the ending of Nora after leaving: Either fall, or return. However, Chen Bailu enjoys the status of a socialite to a certain extent-she is tired of the life of the upper class, but because of the pursuit of a more comfortable and stimulating life, she has to deal with the upper class to obtain economic resources.
would rather be a high-level female than live a boring life. Degeneration and depravity have infinite appeal to Chen Bailu.
Obviously, economic independence does not mean women's independence. The same goes for the older sister Gu Manlu in Zhang Ailing's "Half Life". Although she can support her family financially, she quickly embarked on the old-fashioned path of family-centered and husband-centered women.
In the 1970s and 1980s, Yi Shu wrote the novel "My First Half of Life"", creating a new era of "Zijun" image, Luo Zijun entered into marriage after college graduates, because of love, gave up work and worked as a full-time wife for 13 years, and then started a new life due to marriage and returned to society. The difference between
is that Zijun in Yishu's novel did not lose his financial resources after the divorce. The ex-husband not only bought her a house, but also provided monthly living expenses until she remarried. Zijun soon found a job with the help of her female friend Tang Jing. With financial resources, plus the alimony from her ex-husband, the quality of life of Zijun after the divorce was reduced to a certain extent, but basically Survival is not a problem.
Yishu pays more attention to women's spiritual life. After the marriage, Luo Zijun gradually bid farewell to her previous life. She worked and participated in various activities of interest, and gradually became spiritually rich. Under the influence of friends, family and the entire social environment, Zijun truly bid farewell to his past self, rediscovered the meaning of life and the value of survival, and achieved transformation.
So, in the final analysis, a full-time wife is not the original sin. In addition to economic independence, spiritual independence is more important for women’s survival.
Of course, there is a saying that love and marriage also need to be optimized by both parties.
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