1. Summarize the tragic fate of Sister Xianglin and summarize it in chapters and levels 2. Talk about Xianglinsao, Master Lu Si and Liu Ma Xianglinsao's mother-in-law.
Xianglinsao's working women who tie ropes have "four rights" in rural areas.
The right of home is not allowed: Xianglinsao's feast. Her ex-husband Xianglinsao Xianglinsao is younger than Xianglinsao 10. After her husband died, Sister Xianglin didn't want to remarry. She liked to work hard to support herself, so she fled to Luzhen to work. Her hope and desire is to exchange her labor for the right to live. Therefore, when she came to work in Lujia, there was actually no short-term job to "eat, regardless of all efforts ... at the end of this year, sweep the floor, raise chickens, kill geese, cook all night, and have a play." But she was satisfied, but "she smiled on the edge of the quarrel, and her face was white and fat." However, the good times did not last long. Lujia worked for less than half a year, and her mother-in-law relied on the power and influence of the family. Not only treat her as a fugitive, but also like to take her back and force her to marry in the mountains. It needs to sell the money she gets and buy a woman for her wife. Sister Xianglin has never earned "qualified" money like the goods she sold in those years.
The power of marriage, the chastity of Sister Xianglin. In the old society, according to the old Confucianism, a woman was 1, "Should I remarry?" Starvation is a small problem, but credit is a big problem. Therefore, after Sister Xianglin's death, her ex-husband Xianglin (a man younger than her 10) refused to remarry, took her mother back, was forced to marry Jia Lijin, and married her, only howling and cursing, and transported her to Jiali Pass, and her voice was hoarse. Pulling the sedan chair, as well as the two men and her brother-in-law, she couldn't worship heaven either. They accidentally let go, and she hit a big hole in her head, and the bloody incense table corner crashed into it ... "This is the result of Cardiff's appropriate banquet for Xianglinsao. Remarried, her husband died of typhoid fever, she was the banquet of the latter husband, and only his son Amauri lived alone.
It is not a feast to punish Xianglinsao with the system of combining politics with religion. Although Xianglinsao's remarriage is not voluntary, it is remarried after all, not a holiday. "Feast" is unbearable and sinful; It is not a crime, but a crime will be punished. Mother Liu's feudal model (theocracy) and poisoning inadvertently became the accomplice of the ruler, and her "ghost" ("This man lived, suffered and even died of torture: Rebecca, her saw, was given to two men before and after"), so Sister Xianglin suffered great mental pressure. You lied about the persecution of the regime. "The landlord is the representative of the landlord class and the embodiment of political power. He supports the other three power-driven resistance to hurting Sister Xianglin. Sister Xianglin was the first to work in Luzhen. When the Lord of Luzhen knew that she was a widow, he frowned and refused to leave her. However, Xianglin's hardworking and capable self was also assigned ceremonial glasses and chopsticks. She was Xianglin's sister-in-law, then she was milked and widowed. When she worked in Luzhen for the second time, she liked her experience very much: not only could she not meet again, but "sacred" glasses and chopsticks became daily jokes. To make matters worse, when she walked to the threshold of donation in the land temple, the air was comfortable, and she picked up cups and chopsticks. Frankly speaking, aunt is in a hurry. The word Xianglinsao is completely a "convicted criminal", so she likes Paul to shrink, and at the same time, his face turns dark gray. Don't pick up the candlestick, as long as she looks haggard, she will leave, "until she burns incense." Visible, Xianglinsao at this time, what a huge blow! In this way, Xianglinsao Lv Si, a hardworking and kind classic, represents the landlord class's persecution of mental disorder, loss of working ability, kicking away, becoming a beggar, and finally dying in the heavy snow. The rope of feudal "rights" is like a chain, which tightly binds Xianglinsao's injury: the husband's rights are sober, the clan's rights do not allow her to be sober, and the theocratic punishment is "non-feast". . This kind of pain went deep into the bone marrow, and Sister Xianglin couldn't live any longer, begging for death. Lu Xun's criticism is directed at feudalism, which has distinct originality.
Subtle and ingenious are the characteristics embodied in Lu Xun. Xianglinsao's unwillingness: Xianglinsao's husband's domestic violence in Binhai, who fled to his hard work and Lu's job to fight for qualifications, Xianglinsao was unwilling to be forced to remarry and resisted marriage and his life. Forced to get married, she not only cried, but also kicked her head at the wedding in an attempt to commit suicide. Although he is not dead, he can still beat his head off, which makes people think that he has left a scar "shame" on his forehead; Xianglinsao didn't want to discriminate and tried her best to be "redeemed" by the donation threshold. "The total labor income of Xianglinsao at the Lujia donation threshold is 12 yuan. Angelababy, Xianglin's sister-in-law, was unwilling, but her abdomen was punished by Hades, the ghost god, and she had doubts about the existence of the dead. She hoped that there was no ghost, died and was sawed into the bodies of two husbands, but she also hoped that ghosts in hell could see my dear son Amauri reunited with his family after his death. Five "unwilling" Xianglinsao's unique and distinct performance of the spontaneous spirit of resistance. Xianglinsao, a clan and Cardiff force, has no clear resistance to the doubt of theocracy, but it is limited to the pressure on her head. This is the strength of Xianglinsao's resistance.
Xianglinsao Lu Xun is a familiar stranger. Familiarity: This picture is general, universal and looks familiar. "Weird": This picture has a distinct personality.
Sister Xianglin struggled to live and live. As a result, it is "absurd" to say that he is a landlord class. Master Lu said, "It's neither too early nor too late, but it's ridiculous to do it at this time!" "The word" Fu "was used in the last year of the landlord class as an important event to repay God's blessing," Geely ".They hated the poor and died at this time. Lu Xun portrayed the ugly face of the landlord class and profoundly wrote that Sister Xianglin was swallowed up by the dark forces. Lu Xun not only wrote about Xianglinsao's material and physical exploitation and violence, but also wrote about the pain of her soul. Through Xianglinsao's tragic works, the darkness of the old society and the old regime was deeply exposed. The old rural working women described by Sister Xianglin tell the darkness of feudal system and the bloody death of cruel feudal ethics, and her tragedy represents the fate of hundreds of thousands of working women in feudal patriarchal society. It can be said that its history, China literature, no matter which period, did not really describe the soul of a rural woman like Lu Xun. Therefore, Lu Xun has made unprecedented achievements in this respect.
Love, no matter who dares to make trouble, compromise, no matter
Lu Xun created a typical example. On the basis of Lu Xun's real life, this typical figure is highly typified, which embodies the tragic fate of middle-class women in old China.
Ai Gu is a person with a little "status", but his status is not too high. She said that she had some "status" because her first novel was "decent". "Father, Hall entered a big and open step. Love, regardless of the high status, her father Zhuang Tang, in the end, can not be on an equal basis with comfortable classics, can not be from a flat level with seven people. Zhuang Mu's father and daughter are classic comfortable at home. Only the senior concierge drinks rice cake soup, goes to the living room and only stands in the room. No matter how much you like to see seven bald heads, the face and skull are all rosy, and we think it must be covered with lard. Fart plugs are "much higher" than snuff from mercury bubbles, and love is ignorant. These detailed descriptions of love regardless of identity cannot be overestimated, so everyone should love the identity of middle peasants and be lower than their masters.
Aunt Ai was forced to divorce, and the situation of rural middle-class women remained miserable. Cardiff rights and family rights have absolute authority. The water for husbands and widows, whether it is a sedan chair written by three teas and six gifts, will not be protected by law. As long as you don't like it legally, you bow your head and go out, and there is no shortage of gifts. Can you pass? The gentleman of the seventh uncle (the landlord's comfortable classic), with the support of the husband's power, family power and the husband's power ruling class, resolved two sentences after several divorces, one sentence: "Speak with the law"! "You have to go." Uncle Qi also plausibly threatened Aunt Ai, saying, "Don't mention the government, Shanghai, Beijing and the ocean, so" why don't you like Aunt Ai in law? "The ancient beast' only knows his son' shows that in the yamen, only the husband's right protects the interests of clan forces; In a word:-Come on! " Qi Shu's tall and swaying voice, even if it is love, no matter how hopeless it feels, Aunt Lan's bolt is just unscrupulous love, just a "troublemaker", hoping that "justice" has disappeared. It can be seen that love, regardless of the "majesty" of Seventh Master, has to compromise. Then, there are two interchangeable red and green lines. The engagement was exchanged and cancelled. Visible. -Come on! The word "xelloss divorce judgment. In any case, even if the curse of love is told that family life is unbreakable, the husband of the feudal regime absolutely safeguards rights, family rights and the interests of the landlord class.
& gt
Aunt Ai has a "dragon's back" feature, running wildly and being provocative. Husband "Beast" Water "Widow" The son of the old beast, Ai Gu wanted to go back to her mother's house and asked to help the Crusader "evil spirits" to help the family do destruction and death. Isn't it a little scary that many local powerful coastal residents love their favorite daughters? The local squire's father is a backer, so she can't stand being pinched by others. Not to mention glib love and uncivilized fierceness, "Three Years" shows that her divorce is a farce. Knowing only love, regardless of his head, she believed in the pressure of feudalism, so she began to play the "little beast" who pretended to be forced in front of seven people. She didn't think that seven people were called the gift of calligraphy in front of seven people, and all the top people understood it. The last seven, no matter how you wake up love, you feel completely isolated. I also understand the true face of feudalism, but unfortunately, it is too late. Be brave and enterprising, love the weak and strong, dare to make trouble and dare to compromise. This is love. Regardless of her experience, she said in a world of "pique" that "the family members were quarreling and cursing, and made a non-Shi Jia formula, and put forward a" family ruin ",and then soon. However, when she was higher than the seven people in front of her, she was "mad as if she were going to slide in the water", so she couldn't say the last sentence of the seven people: "-come! She couldn't help saying to herself, "I was originally instructed by seven people." ... "180 circle attitude, regardless of the compromise mentioned by love, finally became respectful and obedient to the extreme.
No matter what the tragedy of love is, middle-class women can't get rid of the tragic fate of being trampled on. This phenomenon is very common in old China, and loving an aunt also has distinct personality characteristics. So "strange" is different.
Solution, for the pursuit of personality on the road.
Jun Luxun, the son of the hostess, created a successful female image. Zijun is a typical young intellectual woman's spiritual resistance in modern literary works, which eventually devours the image of the old regime. Regret for the Past is a tragedy of intellectual women.
Zijun's woman awakened the well-educated young people's understanding of the May 4th Revolution. She talked about Iraq, Polo, Seoul, Tagore and Shelley, encouraging herself. The individualism of these bourgeois democratic revolutionary thoughts was finally combined with Zijun Juansheng, which was peaceful and happy. The independent zijun in marriage hesitated to win and became shallow, vulgar and cowardly. Juansheng's attitude towards life is different from that towards the main raw materials, and love finally cracks. When Zijun got married, he didn't study and explore constantly like Juansheng, trying to exert his personality and be a self-reliant social person, but he became shallow, vulgar and cowardly because he was a housewife and was willing to be Qi Mei's wife and mother. Among them, she is in a subordinate position in the family, which breeds her sense of inferiority. The color she often hates, what Juansheng has, and even a smile can be controlled by others. When she was Juansheng, she began to calm down. She was afraid to ask, and she was on tenterhooks all day. The trickle of fear abandoned her. However, consciously or unconsciously, she embarked on the path that women in China have taken for thousands of years, and finally, the autonomy of marriage realized independence. Finally, I broke up with Jun Juansheng, and returned to my father's feudal house in despair, melancholy and loving the earth, and died.
Zijun showed dauntless superhuman courage and was a soldier in the struggle of pursuing individuality and liberating feudal ethics and feudal forces. When her behavior was strongly opposed and obstructed by her family, she firmly said, "myself, they have no right to interfere with me!" " "How brave! How strong! How to be confident! This sentence shows the characteristics and unique personality of Zijun, which is the inspiration and spiritual support of the May 4th new thinking, and is also influenced by the image of Nora in Ibsen's A Doll's House. Among Zijun's beloved passers-by, old things and small things insult and despise, showing fearless order and calmness, like nobody's business. Miss Zijun grew up under the feudal formal education. She wanted to firmly resist the powerful feudalism, but she was not thorough. With the passage of time, the old face of personality liberation finally appeared in front of my son. When Hu Ansheng came to Shelley's bust with bare copper coins and liked women, Jun only gave her a cursory look. We hung our heads and looked embarrassed, which showed that old ideas were in her first role. "Juansheng's unemployed son Jun, under the economic pressure, immediately showed their inability to grow up in love. Juansheng left her. She didn't expect that she didn't resist, but quietly let her father return to the original feudal family. In the end, she failed to embark on the revolutionary road of getting rid of the old regime completely.
Zijun's personality characteristics are closely related to her time and living environment outside. Zijun's love tragedy shows the great limitations of personal liberation. It vividly shows that under the premise of social revolution and women's social liberation, they can achieve real personality liberation and personal independence. Personal liberation is a necessary prerequisite. Without the material basis of individual independence and economic independence, it is impossible to have a truly independent personality. Man's independence can only be realized on the basis of complete individual liberation. Zijun's love tragedy, economic independence and women's liberation are like castles in the air, which will collapse sooner or later. The weapon of individual liberation, fighting against the whole feudal forces on its own, can only end in failure. Lu Xun further pointed out "women's liberation": "In a liberated society, they also liberated themselves." The complete liberation of women must be the integration of the post-transformation of the whole society, women's liberation and social revolution, and it needs the close connection between individual liberation and social liberation.
Women of different classes in Theory of Three Represents are victims of Xianglinsao's image of loving her aunt. Well, Mr. Lu Xun profoundly and clearly expressed his views on women's liberation:
Women should be truly liberated. We must first gain liberated political and economic independence. To achieve the goal of liberation, we must overthrow the feudal system and need a profound and tenacious battle.
Lu Xun's works, such as Javelin and Dagger, are all feudal. This idea of Lu Xun also confirms Engels' incisive exposition: "The first prerequisite for women's liberation is that all women return to public labor."