Request an essay on the portrayal of women in Southeast Peacock 800 words

This is just to provide you with some material, you can copy and organize, 800 words, small case! Liu Lanzhi, the heroine of Southeast Flight of the Peacock, is a woman with traditional virtues. She is prudent in speech, dignified and leisurely, moderate in movement, and diligent in her duties, which is in line with the Han Dynasty's requirements of women's virtue and speech, as well as women's appearance and accomplishments. She not only has unrivaled external beauty, but also has impeccable internal beauty. In her body shines the modern female consciousness: self-respect, self-improvement, sobriety, and perseverance, but all of these not only did not bring her benefits, but also accelerated her tragic fate.

Keywords: Liu Lanzhi, Ancient Chinese Women's Morality

Why is it that a woman who embodied the feudal women's moral code has long been praised and loved even today? Why can people still feel what kindness and perseverance are from Liu Lanzhi's moral practice of following the "Three Obediences and Four Virtues"? Obviously, we cannot simply look at the rich and complex connotation of feudal women's morality. This paper tries to make a rough analysis from the moral level, in order to more comprehensively explore this image and the typical significance of the work.

I. Liu Lanzhi's Moral Character

Liu Lanzhi is kind and persistent, hardworking in weaving and tailoring, and she really embodies the characteristics and virtues of working women. From the point of view of women's morality, Liu Lanzhi, in her daily life, she is a lady, a virtuous wife and a filial daughter-in-law in line with the Han Dynasty "three from four virtues" norms.

1.1 Liu Lanzhi's behavior and speech

(1) Her words: In the work "Southeast Flight of the Peacock", Liu Lanzhi's words of seeking release are righteous and polite; her words of bidding farewell are self-condemnation; her words of oath are sincere and righteous; and her words of thanking the matchmaker are quite measured. All of them have rules and shortcomings that can be found and not to be exceeded, all of them can be different according to the different situations of the targets, and are in line with the requirements of the "Four Virtues". As the saying goes, "Choose your words, do not speak evilly, speak when you can, and do not be disgusted with others." "I have received a lot of money from my mother, but I can't bear to be driven by her." It is the wording of not forgetting the goodness of one's elders and not speaking of the faults of others. "I have not learned anything" and "I was born a child in the wild" are words that are strict in chastising oneself and show weakness to let others in. "The child really has no fault", just this sentence, reply to the mother's reproach, swallowed how much aggression and bitterness. It is a prominent embodiment of the saying, "A woman's words are not necessary to justify her words".

(2) its face: the Han Dynasty requirements for women's face is mainly manifested in: "do not have to be colorful"; "bath time, the body does not contain dirt". From Jiao's mother to Liu Lanzhi's accusation and the "Dongjiaxian female" outside the child's exaggeration, probably Liu Lanzhi weekdays busy with domestic textile things and not dress up, which in Jiao's mother, this son for the "noble family," the vulgarity of the people seem to lose decency, but Liu Lanzhi for the However, what Liu Lanzhi did was not a disgrace to a woman's appearance. Once repatriated, according to Han etiquette should be dressed in the dress of the marriage to the "big return", she "everything four or five passes" out of the rigorous makeup, people have "subtle world without peer" sigh. At the "fine step", she was just like a big person. Before parting to the room of the pick up point of the objects to explain, can be proved on weekdays to handle the stability and the chaos of meticulous; Farewell to the Jiao family's etiquette and speech, enough to see that although the pain of its heart and the tranquility of its demeanor. Even into the clear pool, but also do not forget to take off the shoes on the shore, not only can show the heart, but also to avoid unnecessary involvement. It can really be said that "leisure and tranquility, keep the festival neatly, behavior of their own shame, static and dynamic method."

1.2 Liu Lanzhi's family relationships

Liu Lanzhi, "humble and respectful, before others and after themselves", did not violate the "three from" teaching. The main manifestations are:

(1) Chastity and obedience to her husband. Liu Lanzhi's primary social role is a wife, her love for Jiao Zhongqing always, life and death, is undoubtedly out of deep love for husband and wife. Because Jiao Zhongqing gave her due understanding, sympathy, in her isolation, had a weak body, for her to withstand the storms of life, and even to death, has not given up on his wife's love. But the reason why Jiao Zhongqing was like this could not be separated from Liu Lanzhi's scrupulous adherence to the way of being a wife.

(2) Filial piety to elders. Liu Lanzhi has lost her father at both ends, but the virtue of filial piety is also evident in her attitude toward Jiao Liu's two mothers. In the usual difficulties and abuse, she still does not forget "to provide for the pawn great kindness"; before being sent Jiao's mother's "mallet bed rage" and the coldness of Jiao's mother in the hall when she said goodbye, all show that her mother-in-law in order to "righteousness" to drive her daughter-in-law, but Liu Lanzhi's attitude to her elders is also enough to see the virtue of filial piety. However, Liu Lanzhi is polite in her words and acts according to her manners, honoring her filial piety. Obviously, this is not a natural expression of inner feelings, but a compliance with the moral code of "follow your aunt and uncle".

(3) Love for the younger generation. Liu Lanzhi had no children, from her love for her sister-in-law, we can see her "and in the family" character: "But I said goodbye to my sister-in-law, and my tears fell even as a child." What is spilled is a piece of true love. "Begin to help the bed" "as long as I am" of the sentiment, "diligently dedicated to the public grandma, good to help each other will be" "the first seven and under a long time, play do not forget! The first is the "I'm not sure I can do this".

II. The Death of Liu Lanzhi

Liu Lanzhi refused to be manipulated by her parents and officials after she was deported, and fought with her death. Her death embodied the character standard of women's moral code, which is martyrdom to love and morality, i.e. "to be sentimental, to stop at propriety and righteousness".

1.1 Conflict with Jiao's mother and Liu's brother

While Liu Lanzhi's conflict with Jiao's mother and Liu's brother is a conflict between the eldest and the youngest in terms of ritual and legal system, it is a conflict between good and evil in terms of moral analysis. Because Liu Lanzhi in front of them, never is not, and it is precisely Jiao mother Liu brother first abandoned the human morality. It is through the contrast between good and evil on both sides of the tragedy that "Southeast Flight of the Peacock" sends its moral evaluation.

1.2 Individual Moral Beliefs

Moral beliefs originating from oneself are the result of internalization of moral principles and basic norms of a certain era and society. Liu Xiang's "Biographies of Women" categorizes and defines the deeds of ancient women, which is a pictorial explanation of "motherhood", "chastity", "righteousness" and "sagacity"; and the "Women of the World" is a pictorial explanation of "motherhood", "chastity", "righteousness" and "sagacity". "The image of the interpretation; Han Dynasty poems, "Lian female exercise", "chaste female cited", "high detention exercise", "Pheasant Chao Fei exercise" and "Qiliang Wife Song" popular in the world, it is the women's emphasis on character and integrity of the trend of the twists and turns of the reflections. Like many women in the Eastern Han Dynasty who disfigured their faces, cut off their hair, and killed themselves in order to fulfill their personalities, Liu Lanzhi's sigh of "people are cheap and things are despicable", her shame of "having no face to go in and out of the house", and her sadness of "going out to cry with sorrow", are not the same as the couple's sadness and anger? The sadness and indignation, is not also the couple's love was destroyed, moral personality loss of the double pain?

1.3 Liu Lanzhi's Moral Philosophy

After her brother's decision to marry her, Liu Lanzhi had only two choices: one was to obey her brother's wish and marry into the family of the governor in order to spend her whole life or to get rich and famous; and the other was to keep her promise with Zhongqing, and preferred to be shattered by the jade rather than to be preserved by the tile. The former is called the virtue of "following one's father" and the latter is called the righteousness of "following one's husband". It is this kind of love and righteousness are in a dilemma of life choice, Liu Lanzhi chose the latter. This choice is in line with the ideal of women's life of "wishing for a man of one's heart, white heads will not be separated", and also in line with the feudal women's moral creed of "from one to the end".

Third, the image of Liu Lanzhi

Liu Lanzhi's image has an enduring aesthetic and ethical value, and a nation's morality is impossible to break the flow. Especially those moral norms and public **** guidelines that still play a positive role in people's material and spiritual life today should be inherited and transformed on the basis of criticism in order to develop a new civilization.

First of all, women's morality is a product of the specific mode of production of a certain society. The natural economy of "a husband who does not plough or suffers from hunger; a woman who does not weave or suffers from cold", the monogamous form of marriage, the family structure of several generations under the same roof, and the environment of villages where clans are gathered and living together inevitably lead to the moral concepts of honoring the husband and wife, respecting the father and the mother, making peace with family members and neighbors, and saving the lives of the descendants. The moral concepts of honoring husband and wife, respecting father and mother, making peace with family members, keeping good relations with neighbors, and preserving posterity have the soil for their occurrence and existence. Secondly, the family, as a practical sphere of women's morality, is a combination of blood kinship between the young and the old and the natural relationship between men and women, and therefore, as the main body of feudal women's morality, the morality of marriage and family must be absorbed and integrated with the long-established morality of the nation, such as love, tolerance, compassion, filial piety, etc. Thirdly, as the main body of moral practice, the family is the main body of morality. Thirdly, as the main body of moral practice, women in ancient times were at the lowest level of the society and the family, and thus inherited and carried forward the spirit of the Chinese nation of being virtuous and seeking self-improvement in the midst of weakness. In most cases, women's self-improvement and sacrifice, not only will not worry about social peace, but will maintain the continuation of human civilization, after a long period of historical choice and precipitated into the nation's **** the same psychology and customs.

Fourth, the conclusion

For a long time, we have been on the image of Liu Lanzhi's moral connotation of "goodness" and "the virtues of working women" to summarize it and not detailed. In fact, Liu Lanzhi is not a general image of ancient women who were persecuted by feudal parents, but a typical ancient woman who "reaches the highest peak of tragic beauty in terms of faithfulness to family obligations", and she is the image of the perfect "women's morality" in the feudal era. Her moral practice of becoming a lady, a virtuous wife and a martyr summarizes the basic connotation of women's morality in ancient China. Her life path reflects the tragic fate of women in ancient China. This is the aesthetic and ethical value of Liu Lanzhi's image while having a profound social critical significance.