How to evaluate Wang Zhaojun who threw himself into the river in the autumn of Han Palace?

For reference only, I hope it will help you.

The story of Wang Zhaojun's suicide when he entered the palace in the autumn of Han Dynasty was adapted by Ma Zhiyuan according to the historical facts of Wang Qiang's departure and resignation in the Han and Yuan Dynasties. There are many adaptations, innovations and inconsistencies. This paper will analyze how male Ma Zhiyuan portrays Wang Zhaojun in Autumn of the Han Palace and the significance behind this phenomenon.

For reference only, I hope it will help you.

The story of Wang Zhaojun's suicide when he entered the palace in the autumn of Han Dynasty was adapted by Ma Zhiyuan according to the historical facts of Wang Qiang's departure and resignation in the Han and Yuan Dynasties. There are many adaptations, innovations and inconsistencies. This paper will analyze how male Ma Zhiyuan portrays Wang Zhaojun in Autumn of the Han Palace and the significance behind this phenomenon.

Wang Zhaojun's Angel Image

Feminist scholars believe that there are two kinds of female images in male works ── angels and temptresses. Angels refer to the messengers of God in Christianity, whose mission is to serve God, convey the imperial edict and protect the righteous, with auxiliary characteristics of holiness and beauty. Feminist scholars borrow "angel" as the image of female characters in literature, referring to women who are "characterized by beauty, loyalty, meekness and dedication". The image of Wang Zhaojun in Autumn of the Han Palace is the embodiment of this kind of "angel".

The beauty of Wang Zhaojun in Autumn Colors in Han Palace is undeniable. Mao Yanshou has just said that Wang Zhaojun is "radiant and gorgeous, which is really stunning in the world" (the first discount), and "relies on his ugliness and refuses his bribe" (the first discount). Yuan Di said that Zhao Jun "was born with this gorgeous appearance, which is my luck" (the first discount), "Look at his good looks, he is a good woman" (the first discount). As can be seen from the above, Ma Zhiyuan focuses on the beauty of Wang Zhaojun, which is consistent with historical data, but the author has spent a lot of pen and ink to emphasize the beauty of Wang Zhaojun everywhere, not only to cooperate with historical data, but also to impress the audience with Wang Zhaojun's "angel" appearance and satisfy their own and audience's beautiful imagination of women.

It is always pleasant for women to have a beautiful appearance, which is also an important symbol of whether women in China can become "angels" and "beauties". For Ma Lik Zhiyuan, a "gifted scholar" who has read many poetry books, women should not only meet the requirements of appearance, but also meet the expectations of intellectual men for women's literacy. Men, such as Ma Zhiyuan, were not appreciated in the dark political environment of the Yuan Dynasty, and they would transfer their desire for "bosom friends" to women, expecting to have bosom friends who could be in harmony with their own harps. Therefore, Zhao Jun's "playing a few pipa with ripe bamboo" (the first discount) is a necessity to become a "beauty", but she refused to bribe the painter and finally won the favor of the emperor, especially in the dark politics. Wang Zhaojun's integrity didn't hinder Yuan Di's appreciation, but Yuan Di's favor came from listening to Zhaojun's pipa. The connotation and knowledge of Zhaojun attracted Yuan Di earlier than his appearance. It can be seen that Ma Zhiyuan not only attaches importance to women's appearance, but also projects her desire to be appreciated and gain bosom friends on Wang Zhaojun, making Wang Zhaojun a perfect woman who provides both spiritual comfort and physical pleasure.

Wang Zhaojun's loyalty, humility and dedication are all reflected in the matter of leaving the village to get married. In the autumn of the Han Palace, the national strength of the Han Dynasty was weak, and only by sacrificing Zhaojun could the Xiongnu millions of soldiers be prevented from invading the south. Zhaojun had no objection to leaving the fortress to get married, and even actively agreed. He said, "Since I have been greatly indebted to your majesty, I should die as a servant to repay your majesty. My concubine is willing to make peace with me, so that I can rest my sword and rest my soldiers, and I can go down in history. " (20% off). After Wang Zhaojun decided to leave the fortress, he lamented that his feelings with Yuan Di were hard to give up, but he didn't do anything to defend his feelings, nor did he complain to anyone. He just accepted the fact meekly. "Angel women generally don't complain about what happened to them", because once she complains, the charges will not only point to foreigners, but also point to Yuan Di who can't protect her, which is not in line with the angel image of saving and assisting men. After leaving the Han Dynasty, Zhaojun refused to abandon Han and even threw himself into the river. This kind of acceptance, obedience and even voluntary resignation without resistance and complaint shows her loyalty, meekness and dedication. More importantly, Wang Zhaojun is a Han Chinese and a member of the royal family of the Han Dynasty. Her suicide made it impossible for foreigners to defile her nobility. This behavior of erasing the marriage between Zhao Jun and Wang Fan in history and bearing children for him satisfied Ma Zhiyuan's psychology of living under the dark rule of Mongols in the Yuan Dynasty, trying to resist foreigners but unable to do so. Wang Zhaojun's beautiful appearance, actions that can help men maintain power and land, and loyal and docile personality all conform to the definition of "angel" image.

Ownership that men can't lose

In fact, Wang Zhaojun, recorded in the history books, is not as loyal and obedient as in Autumn in the Han Palace. "The Story of the Southern Xiongnu in the Later Han Dynasty" records that "Zhao Jun entered the palace for several years, and he was not allowed to see the imperial court, so he resented and asked the imperial court to order him to go." It can be seen that although Wang Zhaojun took the initiative to go, the reason was not to save Yuan Di and the Han Dynasty from threats, but to accumulate grief and resentment because he was not loved, and decided to leave the Han Dynasty and go to the other side. Except for Wang Zhaojun, Wang Zhaojun in the history books did not throw himself into the river. But completely naturalized the Huns, gave birth to two sons with Huhanye, and even married the son of the former dynasty after Huhanye died, which completely violated the Confucian concept of human relations in the Han Dynasty. Ma Zhiyuan deleted Wang Zhaojun's underrated experience and erased her sadness. On the contrary, she loved Yuan Di deeply, voluntarily saved the crisis of the Han Dynasty and threw herself into the river. The reason is not only to maintain the perfect image of angels, but also to maintain men's ownership of women and satisfy men's imagination of women.

Anthropological research shows that men will try to avoid the possibility of their wives having extramarital affairs with other men to ensure that the children are their own. In China's traditional concept, women are also men's possessions and must obey men's orders. So there is the so-called "not married from the father, married from the husband, married from the son." Therefore, to satisfy men's psychology, men's ownership of women must not be threatened. According to the Records of the Later Han Dynasty, Wang Zhaojun and Fan have never seen each other. Yuan Di not only didn't get Zhaojun's body, but gave it to Xiongnu, which he longed for and regretted, which greatly hit the man's psychology. Therefore, Wang Zhaojun of "Autumn of the Han Palace" must not be a "Han Palace man today, the concubine of Alakazam in the Ming Dynasty; Endure the main clothes and make people spring "(the third discount). In Autumn of the Han Palace, Zhao Jun fell in love with Fan before falling in love with him, which means that he has Zhao Jun's body, while Zhao Jun's deep love for him shows that there is Zhao Jun's soul besides the body. The treatment of Autumn in the Palace of Han Dynasty completely eliminated the attack on the foreign occupation of women who should belong to them in the Book of the Later Han Dynasty, and the ownership of men to women was intact.

It is understandable that Yuan Di doesn't want to make peace with Wang Zhaojun after he completely owns him, but if he doesn't hand over Wang Zhaojun, his power and land ownership will be hit, and he has to give up his ownership of Wang Zhaojun because of the responsibility of his home country. At this time, if Wang Zhaojun tries his best to oppose and defend love, it will inevitably affect Yuan Di's determination and prestige, which also shows that Yuan Di is irresponsible for love and unable to save her crisis. Therefore, Wang Zhaojun must meekly accept orders, throw himself into the river against history, eliminate the fact that Zhaojun naturalized his ancestral home and had incest with her husband and son in history, and preserve the purity of Zhaojun's body. After Zhaojun's death, she returned to the Han Dynasty as a ghost, which indicated that her spiritual belonging also belonged to Yuan Di. Everything has not been polluted, even turned into a ghost and still faithfully returned, which not only makes Yuan Di's ownership intact, but also does not need to bear the responsibility of saving her. The incompetence and ruthlessness of beauty in history disappeared completely in "Zhao Jun wrote a letter asking for her return, and the emperor wrote a letter from Hu Custom". This transformation of Ma Zhiyuan not only maintained the authority of Yuan Di, but also achieved the perfect image of Zhaojun, and maintained the ownership of men to women.

The disappearance of female self

In Autumn of the Han Palace, the value of Wang Zhaojun lies in her body. She entered the palace because Yuan Di's harem was lonely, while Yuan Di's choice of women to enter the palace was not based on personal qualities and standards, but on beauty. After choosing the palace, she was also lucky according to the appearance of women. After meeting Zhao Jun, Yuan Di said, "I was lucky to be born with this gorgeous figure" (the first discount), "How can I not be lucky to see such a figure" (the first discount), only mentioning Wang Zhaojun's beauty, not mentioning Wang Zhaojun's character or talent. It can be seen that Wang Zhaojun's value to Yuan Di only lies in her body, and Yuan Di's affection and "love" for Zhao Jun is only to satisfy his desire. Later, Mao Yanshou showed Wang Fan a beautiful figure and would ask Yuan Di to pay tribute to her because of her appearance, regardless of talent or other personal characteristics. Wang Zhaojun is just a desirable thing for Yuan Di and Wang Fan. It can be seen that the value of a woman lies in her body. She is only the object of a man's desire, an irresistible and desirable object, not a "person" in the same position as a man. What's more, a man's choice is a favor to a woman, not a charity. Women are so humble that they can't even sleep with men. They need to be grateful for being chosen, and dedication is an act of gratitude. It can be seen that the fate of Wang Zhaojun is always chosen by men in high positions, and there is no possibility of personal conscious choice.

Li Ling believes that "women, as the natural existence of the second sex in patriarchal culture, are generally difficult to directly relate to the social and historical existence of a nation and a country under the normal patriarchal history, unless women disguise themselves as men and change their gender identity. However, once the nation is in danger, women can often become the embellishment of male history in the form of martyrdom. If we look at Autumn in the Han Palace in this way, Wang Zhaojun's loyalty of throwing herself into the river is actually another manifestation of her loss of self. Simon Bova once analyzed the perfect women written by five male writers in The Second Sex, and what these perfect women have in common is that "they all show the appearance of' forgetting me',' being without me' or' denying themselves' under the expectation of men", and it seems that they all have the responsibility and obligation to sacrifice for men. Wang Zhaojun of Han Gong Qiu has no shortcomings. In history, more "human" figures, such as grievances caused by not being loved, have been erased and become willing to sacrifice themselves to protect their lover and country. The perfect angel image makes the diversity of women's real life and individual life sacrificed. After Wang Zhaojun went to Han, his personal value changed from a desirable body to reconciliation and martyrdom, but in fact any woman can complete reconciliation and martyrdom. Wang Zhaojun was only selected by men and had no right to refuse, so her automatic application was just a beautiful joke. It can be seen that Wang Zhaojun's value is not endowed by her own personal characteristics, but the product of satisfying male psychological fantasies under the choice and shaping of male chauvinism and male chauvinism culture.

To sum up, Ma Zhiyuan's adaptation and re-creation of history made Wang Zhaojun in Autumn of the Han Palace a perfect angel in men's imagination, while her love with Yuan Di and her suicide in the river safeguarded men's ownership of women. However, this adaptation makes women's self and subject value disappear at the same time, which becomes a desirable thing to satisfy men's imagination and fails to show the real female image.