The Characteristics of Thinking Woman's Poetry

The poems of thinking of women are a very interesting topic. Turning over the scroll of history, we will find many such poems, and we find that in the period of Wei, Jin, and North and South Dynasties, the characteristics of the poems of thinking of women were very different from those of previous dynasties, and most of these poems were written by male literati. There are four reasons why these men of letters endorsed the identity of women of contemplation: the tendency to appreciate poems with "sadness as beauty", the influence of political and religious concepts and poetic traditions, the political ideology, and the literati's concern for the social experience. In addition to the song of a traveler, Nineteen Ancient Poems is also a poem of a thinking woman, which expresses the feelings of a traveler and the sorrows of a thinking woman. The two complement each other, centering on the same theme, and are two sides of the same coin. Nineteen Ancient Poems expresses the complex thoughts and feelings of the traveler and the woman, which is universal and typical in ancient China, and has aroused the readers' extensive ****sing for thousands of years.　Most of the authors of Nineteen Ancient Poems are wanderers, who are in other countries, with their native land in their chests and their homes in their hearts, and each of them has a homesickness complex that cannot be dispelled. The protagonist of "Picking Hibiscus in the River" picks fragrant grasses to present to his wife in a faraway place, and bitterly sighs: "I still look at my old hometown, the long road is vast. I leave my home with the same heart and grow old with sadness." The author of "The Bright Moon is Bright and Bright" is sad and sleepless at night when the moon shines brightly, and wanders around with his clothes in his hand, feeling y: "Though I am traveling in the clouds, I might as well return to my home as early as I can." The grass at the end of the world, the moon in other places, did not bring solace to the traveler's soul, on the contrary, it is to stimulate the feeling of homesickness that is difficult to contain. Homesickness, which is a universal human emotion, is more obvious in the era of agricultural civilization. However, in the historical and literary works of the past, what people often see is the feeling of homesickness after being rich and wealthy, and the enthusiastic scenes of returning home in fine clothes. The authors of the Nineteen Poems were mostly disillusioned scholars, and the homesickness songs they played when they were poor and downtrodden were sad and full of the misery of people who had fallen from the ends of the earth, and attracted sympathy and pity. Homesickness works in the "Classic of Poetry" in a number of works, the "Classic of Poetry" in the traveler's thoughts of their wives, but more is to think of their parents and parents, mulberry and zhi love penetration of parent-child love; "Nineteen Ancient Poetry" Homesickness focus on his wife, homesickness and Huai Nei inextricably linked to the countryside and men and women in love is blended together.　　Most of the authors of Nineteen Ancient Poems were sons of eunuchs, who left their homes in order to build their careers and enter the civil service. The poet repeatedly complains about this. In "Today's Good Night Meeting", he wrote: "Why don't I plan my footsteps to reach the important road first? I have no reason to stay poor and lowly, and I am always in misery." This is to get ahead of the fierce competition in the career path, occupy a prominent position, and get rid of the poor and lowly situation of having no official position. In "The Return to the Car and Driver's Words of Mai", it is also said, "There are times of prosperity and decline, and it is not too early to establish oneself." "Amorphous with the materialization of things, glory and fame are considered treasures." This author was not only satisfied with the success of his career, but also pursued his own immortal value, and made his life have eternal significance by making himself famous in the future. In addition to narrative poems, there are also a certain number of lyrical poems in the Lefu poems of the two Han dynasties, and they are similar to the Nineteen Ancient Poems in terms of style. However, it is hard to find works like the above two poems that express the positive spirit of using the world. It is rare to find poetic works before the Nineteen Poems that express in such frank language the ideals of the scholar to build up a career and make a name for himself in the future.　　The success rate of the travelers' eunuchs was very low, and most of them could not realize their aspirations. As failures in their career, various thoughts arise, and they have to find solace in other areas to keep their minds balanced. The authors of Nineteen Ancient Poems were conscious of their lives. They did not believe in immortality, they did not have the world of immortality in their minds, and they only wanted to live more happily and freely in reality. Therefore, they "cleansed and released their feelings" ("The East Side of the City is High and Long"), and went to pursue the beautiful women of Yan and Zhao. In "Driving to the East Gate," they also wrote: "I take food and seek immortals, but I am often mistaken by medicines. It would be better to drink fine wine and be dressed in dandy and vegetal clothes." This is to say that one should spend one's life with fine wine and fancy clothes, which is also expressed very frankly. As a result of the frustration of the career, these scholars' pursuit of life from high to low level of decline, from the efforts to achieve immortality in life to satisfy the desire of the ears, eyes, mouth and stomach, they are looking for some kind of compensation, although the words are optimistic, the deep sorrow can still be felt.　　The mentality of the thinking woman, as demonstrated in Nineteen Ancient Poems, is also complex and varied. There is no exception in the many poems of the Nineteen Ancient Poems for women who long for the early return of their sons. However, when they do not return, the women's reactions are very different. Some treasured their marriages so much that they were so y in love with their sons that when they sent letters back from afar, she would put them in her arms and "keep the words in her arms for three years" ("The Cold Arrival of Meng Dong"); and when they sent back a piece of qi from afar, she would cut it to make a blanket symbolizing the love of husband and wife ("Guests Come from Afar"). Some of them realized the signs of "the wanderer's disregard for return", and the thinking woman felt old and thin, so she could only console herself by "trying to add more meals" ("Row by Row"). There are also some women who can't stand the loneliness in the bright spring season and lament that "it's hard to stay alone in the empty bed" ("Grass by the Green River"). The authors of these poems may not all be women, and most of them may be written by travelers trying to imitate the psychology of women, but they are all written in a realistic manner as if they were written by the hands of women who were thinking of women. These works are characterized by the same **** that they focus on the expression of the mental anguish of a woman in solitude, and they are worried that the wanderer is fond of the old and the new, that their true feelings are not perceived by the other party, and that the external forces are separating them from each other. In the Nineteen Ancient Poems, the image of both the woman of thoughts and the wanderer are lonely, but compared with the wanderer, the woman of thoughts is even lonelier. While the wanderer has a good night out, the opportunity to enjoy songs and tunes, and the opportunity to drive out, the woman of thoughts can only wander around the courtyard, sighing in the empty room, and their unspeakable loneliness is often washed away by tears.　　The wandering women in Nineteen Ancient Poems are torn between rituals and secularism; they have both traditional values and secular life choices; sometimes they speak against the rituals, but they don't act against the rituals, and they are not as bad as the chaos. Even if the traveler is determined to "cleanse and release his feelings", once he really faces the beautiful Yanzhao woman, he will "ponder and chat and loiter". ("The East Side is High and Long") The beautiful girl first complains that the other party's marriage is too late, but then she confesses, "If you are so honorable, why should I be a lowly concubine?" ("Ran Ran Lonely Bamboo") If the wanderer turned from making a name for himself to a fine woman and wine reflects the general trend of ancient wayward scholars, then the practice of hovering between propriety and secularism is a refraction of the ethos of the Eastern Han scholars.