In ancient times, a woman's marriage was called "coming back", that is, she met her lover and Wan Li came back. Men are the destination of women-this ancient definition conforms to the essence of the relationship between men and women through the ages.
Some people say that a man's life is nothing more than a transfer from one woman to another, and so is a woman. Only for men, "women's hands" focus more on the care of daily life, while for women, "men's hands" focus on both material and spiritual aspects, pointing to the essence.
Before marriage, a woman had no worries about food and clothing under the protection of her father. If you marry well after marriage, you can continue to have food and clothing under the protection of your husband. Whether there is love or not is two different things. In addition, love can be replaced by affection similar to loving your father, or it can be re-cultivated.
Yi Shu's novels all describe this process-women proposing marriage, retreating from left to right among many men, or out of reason or instinct, describing this little event and describing the untold vicissitudes of the world, which has its own atmosphere.
However, it is worth noting that in her novels, almost all heroines' final choices are business tycoons who are mature, stable and successful, but old enough to be fathers or grandfathers-like Xibao, like Zhou Chengyu and like Murong Ning Xin 'er (some people may cite some counterexamples, such as Lu Yi in Morning Flowers and Wang Yunna in Tea, but God knows, Lu Yi likes classics.
No matter whether these heroines really love the middle-aged men in the novel or not, one thing is certain. The wealth possessed by those men can make readers accept their victory more easily, understand the choices of women in the book more easily, have a * * * sound on their feelings more easily, or make readers feel brought in more easily, and indulge in petty bourgeoisie sadness in the beautiful dusk and the situation created by the novel.
I really can't imagine if Fu in Zhou Chengyu's "Family" is a middle-sized white-collar worker and Xibao's whoring posture is only a small business owner, then whether Yi Shu's novels can be seen again-petty-bourgeois snobbery is so deeply rooted in the hearts of modern female readers, and Yi Shu accurately captures the reader's mentality, and her eagerness is just right.
From a certain point of view, Yi Shu is the most snobbish female romantic writer in Hong Kong-in fact, I don't want to put her in the ranks of romantic writers, and compare her with Qiong Yao, Xi Juan and Qing Yu, which is simply an insult to her (Qiong Yao's early works can be mentioned, but her later works are simply unbearable). But limited by the subject matter of her writing, she can only be said to be a romantic writer in such a general way.
But in fact, Yi Shu's writing style is clear, concise, unique and chewy, which makes her suffer a lot in writing themes. The so-called success is also a theme, and so is failure.
Because she wrote about women's marriage, as a woman herself, she has the deepest understanding of this matter. In every novel, she can make some absurd but meaningful philosophical comments, which is remarkable, so there are so many female readers.
But it is precisely because she only writes about women seeking marriage that her readers are mostly women who want to marry or hate to marry. Therefore, in the literary world, she belongs to the category of romantic novels-no matter how excellent, she is just a romantic novelist. Therefore, some people say that it may be many years before everyone discovers that there is an Eileen Chang in Hong Kong.
As for why Yi Shu is snobbish, it is because none of the heroes and heroines who occupy the heroine's heart or are finally selected in her novels are familiar middle-class images with simple family background and little savings, who work hard in office buildings and earn wealth by their own hands. Even the most described serial, Yi Shu didn't let him win the heart of A Zi, who he had been infatuated with for many years-the serial was originally the child of Shan Xiangzi's servant.
Perhaps Yi Shu's cold pen is somewhat artificial, exaggerating the significance of material life to a woman. Yi Shu mentioned countless times in her novels that when the heroine imagined that she would work as a typist in an office building in Central, squeeze the bus to work and live in a dormitory, she felt a chilling fear. These life scenes are the common scenes that we are most familiar with today, because as professional women, we don't have such exaggerated painful experiences of earning money at work.
However, it is her exaggerated brushstrokes that, to a certain extent, tell the true meaning of life and uncover the spiritual scars that we are numb by the hardships of life.
A woman who doesn't marry well can only learn to be competent and strong. In the company, have dinner with male colleagues and watch the boss's face together. In society, if they show their faces, put down a lady's reserve and self-esteem and grab a spoonful of rice from someone else's bowl, they can only move forward, and there is no retreat.
Author: I am Mo Xin 2005-7-27 17:5 1 reply to this speech.
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2 Return —— On Yi Shu's Novels, Gender Relations and Other Mo Xin Original Works
A woman with a happy marriage may be the most useless person. They have a home and a sense of security. They know that they can retreat, retreat to the gorgeous kitchen arranged by their husbands, and retreat to their powerful arms. Therefore, they are naturally useless and happy people.
Yi Shu's works were prolific in the 1970s. In her novels, when the heroine is homeless, joining this profession is always strongly resisted, which is considered as a last resort. After marriage, I always take a sympathetic attitude towards professional women.
I don't know whether women in Hong Kong had the theory of feminist liberation at that time, and how many professional women there were in Hong Kong society, but judging from Yi Shu's novels, the proportion should be small.
However, at present, women are blinded by some slogans and ideas of equal rights between men and women, and are driven from their families to society. They compete with men with bare hands, get much lower salary than men, overdraw their insufficient physical strength and intelligence, endure the gender hints of male bosses and colleagues, postpone the best time and age of childbirth, and have a bad influence on human reproduction. It is really not the moral policy of modern society, and it can even be said to be the biggest scam of this century.
What role should women play in gender relations?
In fact, it should not go beyond the social and historical development process. At present, in the whole human history, it is still a patriarchal society. At this stage, women are subordinate to men and live under the protection of men, and men are quite willing to play the role of caring for and protecting women. The images of 12-year-old girls and mature men like their fathers frequently appear in Yi Shu's novels, which can represent the relationship between men and women at this stage.
A woman has been sheltered by her father since she was a child. When she grew up, although she was physically mature, she still longed for a safe transition from her father to her husband, another "father". It seems more appropriate to replace the two "fathers" with "guardians"
As the first guardian, her father made her grow up happily. As the second guardian, the husband gives her food and clothing, successfully completes the fertility task, provides a quiet, warm and healthy environment for the children, and enables the next generation to grow up healthily (whether physically or psychologically)-the mission of a woman's life can be realized. In fact, this is the essence of women's existence, and the image of professional women distorts this essence.
The husband is a woman's second guardian, which is especially important in a woman's long life. Therefore, finding a husband has become the most important thing in a woman's life. This is an expensive investment and a huge gamble. Capital is her body and youth.
No wonder the heroines in Yi Shu's novels are beautiful-the more money you gamble, the more exciting you gamble. And when they actively or passively capture the right marriage partner, they are cautious, diligent and meticulous, without losing a penny-time and body, and can't afford to lose.
In Yi Shu's novels, the heroine often chooses material between love and material, naked and undisguised. Here, money becomes the third guardian. A husband is just the embodiment of money in a layer of human skin. The heroines may think that they will really fall in love with those middle-aged and old men-in fact, they fall in love with the sense of security that money brings them and are cheated by themselves.
It's just as well. Even in middle-aged and elderly people, male sperm can maintain excellent quality, which has little influence on fertility, and can still bear rich fruits in suitable soil.
In Yi Shu's novels, most women who marry rich people have no children. After they successfully captured middle-aged and elderly men as marriage partners, their story should also end. Readers don't want to think about these trivial things after marriage, but just want to hear: "The prince and princess live happily ever after"-the "prince" here is an old man, but his wealth is not inferior to that of the prince.
In fact, from the perspective of observing the world and human nature, Yi Shu is better than Qiong Yao. Qiong Yao is a master of dreaming. Her love stories are all pure love stories, and they don't eat human fireworks, and they don't worry about daily necessities. Even if there are contradictions when she gets married, it is only the contradiction between mother-in-law and daughter-in-law. What is excessive is that her hateful mother-in-law bullies the poor daughter-in-law from humble origins.
Most of the heroines in Qiong Yao's works are dedicated to the hero for the first time. Noble spirit of sacrifice, unrequited love, hysterical pain, etc.
Yi Shu's novels are closer to the concept of modern people, and she is the spokesperson of modern petty-bourgeois women. Cohabitation and premarital sex are no longer big news or outrageous things in her novels. The heroine is generally not a virgin when she meets the hero.
There is a strange phenomenon. Most of Yi Shu's novels are narrated in the first person, which feels like reading a story of her own. No wonder Jin Yong criticized her earlier for not writing novels, but writing anything is like writing an autobiography. To this end, Yi Shu was quite unconvinced and wrote "Xibao", thinking that there were homosexuality, murder, suicide and incest-this should always be like a novel, right?
But I think she misunderstood what Jin Yong meant. In fact, Jin Lao's criticism should refer to her habit of writing in the first person, not to the fact that there are too few dramatic conflicts in the novel.
Most of the first-person heroines in Yi Shu have strong personalities. Even in modern society, she is an independent woman and has the ability to make a living by herself. But I don't know why, even such a woman will surrender so helplessly in the face of the temptation of a comfortable material life.
I never understood this phenomenon at first. But then I understood. Just because you have the ability to make a living doesn't mean you will use it willingly. In fact, like Xibao and Zhou Chengyu, they have great ability to support themselves, but when they have to, they are helpless and desolate. Self-reliance is nothing to show off. What they lack is a sense of security, a sense of security under the protection of a man like his father. If this man is stingy to give them love, it doesn't matter, he can use money to shelter him.
Xibao famous saying: love, I want a lot of love. If there is no love, you need money, a lot of money.
Zhou Chengyu finally rejected Fu's proposal because of breast cancer. After a round of dancing, she stayed on the dance floor for a long time, but in the end they didn't get together, which made many people cry.
In fact, Zhou finally rejected Fu because of her own inferiority complex. Because of the disparity in economic status, her feelings with Fu were unequal from the beginning. Zhou Chengyu's Italian stepfather knows this very well, so he wants to give her a huge legacy so that she can stand in front of Fu on an equal footing. But it was too late, and their relationship had been formed as early as Fu's adoption week. Zhou's psychology is doomed to be weak from the beginning. The only thing that can make her regain her self-esteem is her beautiful body. When all this capital left, Zhou had nothing in front of Fu, and she could only retreat to save her self-esteem.
If two people are emotionally equal and can fall in love freely, how can physical defects become obstacles to being together?
Zhou claimed to love Fu deeply. She thinks that her love should not contain material components, so she can't let go. From the beginning, Xibao went straight to the money, so she let go. From the beginning, she lowered her posture to the dust and thought that she was a whore in the eyes of her family.
It is her attitude that makes her comfortable in dealing with family relations in the future. Sometimes, putting it down first doesn't necessarily mean you can't get it.
Xibao gained a huge legacy of keeping fit at the expense of youth-but she has no love for keeping fit.
Zhou Chengyu, with her mutilated body, felt the emptiness of youth-but she didn't hate Fu.
The relationship between men and women is not fair, but involuntary.
Since ancient times.
There is an old and vulgar saying that men are afraid of getting into the wrong business and women are afraid of marrying the wrong husband. In fact, it is quite appropriate to show that women are more likely to be satisfied in family life than in their careers.
Xibao said, I want a lot of love. Without love, I need a lot of money. But if I had to choose between love and money, I think most people would choose the latter. The reason is not that some people think vanity or superficiality, but that women are inherently insecure. what is love ? It's just a vague emotion Money can be tangible. If you want to change, love really can't last forever easily. Putting all your feelings on men is like a gamble. We are not bookmakers. What are the chances of winning?
Even if you want to gamble on love once, don't gamble all your chips, give yourself a way out, and tell yourself that even if you leave him, you can survive and have reason to be happy. Therefore, women should never give up their viability, and don't think that they can rely on him without learning to take root.
When you have love, enjoy it. When you don't have love, grab the money. Xibao taught all women a cruel lesson …