Chinese literature

Wen Jie's group poem Three Love Songs in Turpan is famous for its beautiful love in the new period, among which Under the Apple Tree and After the Dance are the most representative, and the female images in these poems are quite distinct. For example, in the poem "Under the Apple Tree", the girl was frightened and shy at first, and the poet wrote: "The boy under the apple tree,/stop singing; /The girl is coming along the canal; /The young heart is beating in the chest. /Why is her heart beating? /Why did you jump out of beat? ..... "After the unremitting pursuit of the young man in spring and summer, in autumn, the girl was finally tempted:" The reddish fruit bends the green branches,/Autumn is a mature season,/The girl can't sleep all night,/Do you miss that good apple tree? /Young people should understand these things. /She said: Why don't you say something? " Finally, the girl finally accepted the boy's pursuit: "Say that sincere word!" " /the love you plant must be harvested. "Through a series of scenes full of life, the poet described the image of a girl for us in" Seeds of Love ". Different from previous poems, this love is based on the same working life, which seems to confirm our previous analysis that women and men have equal rights.

Actually, it is not. This love relationship still has a strong traditional color, and the female image has not surpassed the tradition. The poet refers to unmarried girls with "buds" whose branches are not open. This image itself has obvious traditional meaning. For example, there are many poems in The Book of Songs suggesting that women grow up and get married, and in Li Sao, herbs are often used to refer to beautiful women. In his book coquettish and erotic, Mr. Kang Zhengguo believes that this is related to the ancient concept of fertility through analysis and textual research. The ancient culture of China attached great importance to fertility, and the folks often said "have more children" and "have children early", which is what it means. Therefore, they are related to women's reproductive tasks from the vigorous growth, flowering and fruiting of plants. [3] Later, the actual meaning of the image-"reproduction" gradually faded, and its aesthetic value increased, and gradually expanded and solidified into a general term of "female beauty", including "willow rhyme, splash, residual flowers, defeated willows" and other so-called "vanilla beauty, hibiscus water" with ornamental and derogatory meanings.

Dai Jinhua once had an incisive exposition on this metaphor of "flower bud" and other things referring to women. She believes that "when women's appearance is materialized into the beauty of hibiscus, weak willow or nephrite, shallot and golden lotus, the significance of taking it, folding it and abandoning it for fun is looming." In this metonymy of the beauty of human body's taking things, sexual desire or sexual relationship has actually undergone subtle changes. It not only expresses or symbolizes a desire for women, but also repels women's own desires with the help of objects. What it shows is not so much human desire as human desire rights. " [4] Therefore, from the images of "bud", "fruit" and "picking" in this poem, we can see the male position contained in the poem. In the whole courtship stage, this positioning is more distinct: "girls" have been passive and "boys" have been active. The poet expresses the "active and passive" relationship between men and women in marriage and marriage with images such as "young man", "picking" and "ripe fruit".

Such a gender stance can be seen everywhere in Wen Jie's other poems. For example, the poem "The Grapes are Ripe" was also initiated by men, and women became the objects of men's "teasing" and pursuit: "The boys stood side by side on the roadside, and the lyre plucked the girl's heartstrings". These images clearly reveal the traditional concept of gender. A man is the subject of love, and a woman is the "object" that a man pursues and the "fruit" that he wants to "pick". This shows that although the scene of the times and women's social identity have changed, the way men perceive women's gender has not changed much.

This traditional view of love was constantly confirmed in many poems at that time, but the poems emphasized the "loyalty" quality of love, and this "loyalty" has surpassed the simple relationship between men and women, and its dedication has been transformed into a "collective" in the name of work and career. For example, in the poem After the Ball, Wen Jie tried to praise a new kind of loyal love based on labor relations. Poet's description: Late at night after the dance, "Pianist" and "Drummer" scrambled to send "Tekedihan" home. Actually, they "took a fancy to her" and wanted to pursue her. Their passionate pursuit, "Do you love the piano or the drum? /haven't you made a comparison? " The poet Jean Tourre Deehan replied, "I made a comparison today last year./My happiness was decided that day./Alsi has taken my heart away and brought it to Urumqi Power Plant." No amount of sweet words can shake the loyalty of "Turks" to distant lovers.