英语 Wives are in groups novella “Wives and concubines are” in the group of novels. This work by describing a “new era of education,” the female students Song Lian, voluntarily marry into the high wall of the orderly feudal family Chen Fu, and ultimately in the “wives and daughters” fascinated by the tragic fate of the collapse of the spirit , Artfully reproduce the Chinese feudal ethical code devour the horror of human nature. “Wives and concubines” has been adapted into a number of film and television works, directed by Zhang Yimou “red lanterns high” is one of them. Title Wives are in groups Creation time Before and after 1990 Literary genre novella The number of words 45 thousand words First edition time 1991 years Books and movies are called the classic 20 great works! Have you seen the works of Zhang Yimou’s director? brief introduction Wife and concubine era background is China’s 1920s battle of the Northern Warlords to the first time between the Kuomintang civil war on the eve of several years. 19-year-old Song Lian, his father died in the home after the fall, was forced to marry a rich family Chen family for four ladies, as the family of the fourth hostess. When she was married to this wealthy house, she was treated like a royal family, receiving a comfortable hammer, and when her husband, the master of the mansion, stayed in her room at night and hung with a red lantern. However, Song Lian quickly found that not all the ladies can accept the same luxury treatment. In fact, is the owner every day to decide which night in the room of his wife, in which room before the lanterns, enjoy the foot massage, so that the wife decided to let her get the servants of respect and service. Here the competition continues, four ladies continue to compete for her husband’s attention and feelings, although the big wife’s competition is not so much. In the end, the three ladies Mei Shan died, four wife Song Lin crazy, two wife Zhuo Yun thought it was “invited pet” the final victory of the war, not knowing the emergence of five wits, directly destroyed her wonderful abacus. Only the big wife Yu Ru, she began to choose to escape the reality to read the letter Buddha, status has been stable and unshakable. Wives are in groups Creative background “Wives and concubines,” the amazing thing is the fine characterization of this old life, this emotionalism easily brewing poetic, so that they silently reveal a near the decadent lyrical state of mind. And this mentality is largely derived from the author’s childhood life and memory. Childhood memories have at least three meanings for the author. First, the author tries to explore the root of the self-female complex from the narrative of childhood. “Root-seeking literature” clearly marked the author’s growth as a “cultural revolution” after the generation is a rootless generation, their past and history is an embarrassing existence, or that they can not pass the conventional narrative to express So the childhood narrative becomes another way, and in this way it is easy for the author to pick up the memory and seek the root of the source. Second, the perspective of childhood can strengthen the author’s text perspective. In this perspective, even adults are full of bloody events also transformed into a game, interesting, although not close to the concept but may be hyperopia phenomenon, and the objective effect may be because of this contrast and irony and even more perverse , Violent and cruel. That time because of this kind of digging become rich and colorful, and childhood those who are good or bad or impressed by the mother of children who naturally become the object of reproduction of Su Tong novels and Su Tong himself to study the object. Third, Su Tong’s works imply a growing theme, many works with rituals and memorials means that for the passing of life to sing a different melody of the elegy. Childhood is now a growing process, and his understanding of women is also in the process of its growth to build up, so he must go to find the source of this growth, the source of this thinking. Main character Songlai There is a wealthy family, and the father runs a factory with the ability to go to college and receive the best education. However, there are unexpected circumstances, the father suicide after the collapse of the factory, stepmother to let the lotus in the work and marry between the choice, Song Lian chose to marry, and is married to the rich concubine. At this time the song of the lotus is beyond the age of calm and reality, she has never suffered, so for their own choice of a material in the road to prosperity. However, she is still mature but 19-year-old female students, before entering the real Chen, she can not imagine how the war between women how tragic. And once the entry will never succeed, she can only participate, or perish. Song Lian in this a bloody woman in the war is always at a disadvantage: just entered the Chen when the servant guessed for Chen’s poor relatives, and then suffered a big wife Yu Ru’s disregard, two wife Zhuo Yun’s hypocrisy, three wife Mei Shan Of the blatant provocation, even the maidservants goose are secretly behind the bad. There is no friend in this war, only the enemy, everyone alone, only to snatch the only victory fruit – Chen Zuoqian’s favor. [3] Meishan Chen Zuoqian’s three aunt too. She is a hero than the protagonist more distinctive personality. Meishan, even the birthplace of their own do not know the opera, there is a “beautiful exquisite” face, it is a dare to drive on all the people, do whatever they want, dare not woman, is this woman Had to jump to Chen Zuoqian’s head. But also her in Chen, Chung’s wedding early night, abruptly Chen will take away. She did not like to dare to criticize Chen’s ancestors eight generations. She dare to Chen declaration, “five days less than me, I will find partners”, even so she still carrying Chen and “doctors” pass. Right and wrong, she can be on the big wife Yuru disrespect, but also hire people to play two wife Zhuo Yun children. She said to you, “If you are with someone else nonsense, I’ll tear your mouth, and I’m not afraid of you, and I am not afraid of anyone, who wants to stop me.” Was Zhuo cloud after the rape, she “eyes blatantly open, scolded dragging her every person.She scolded Zhuo Yun said I was alive you want to cut your knife knife to dig your heart to feed the dog to eat. A dare to dare to hate, dare to dare to dry woman, in the “male respectable woman”, “three classes five permanent” dominated the feudal society, can be regarded as a “odd woman”. However, too much desire to swell. Let her life flower bloom too hasty, it will naturally shorten the course of her life. [4] Chen Zuoqian He was a typical man in the feudal society of China. Chen Zuoqian fifty hanging time to marry the mourning lotus for four aunt, Song Lin crazy after marrying five aunt, the first three house concubine who left him a heir. Can be described as concubine groups, children around the knee. As a man, has money, right (at home he undoubtedly has the supreme right), female color, the desire of the child he has realized. However, the full realization of the desire is a serious threat to his life: Chen Zuoqian fifty years old when thin as “crane”, the body has long been three concubines “hollowed out”, and ” a bit overwhelmed embarrassment ” . [4] Listen to listen to speech Main point Su Tong to calm and almost white handwriting for the reader to draw a very sad woman living world. They are a group of humble and poor people, their fate as the candle in the wind, the water of the Ping, always have been swallowed, the danger of being submerged. Feudal ethical education, male-dominated oppression, is caused by the tragic fate of women is extremely important and can not shirk the factors. However, the problem of women themselves can not be ignored. At some point, the harm to women has not only social problems, traditional problems, but the people themselves, women themselves. In the “wives”, the Soviet Union to seize a very deep theme: women agree with each other after the male culture hurt each other’s reality, so the more the outcome of the woman’s miserable, the more sad, the more strongly hit the reader’s mind The These women, whether wives, prostitutes or mistresses, they have a strong sense of personal attachment, it is this “innate” attachment to make women in a no choice. And is attached to the subject – the male momentary likes and dislikes often make women face the loss of dependent crisis. The story of “polygamy” in the history of Chinese literature and the theme of “the roots” in the “wife and concubine” also got a new interpretation and interpretation. Works from the young, the spirit of the spirit, the culture of the lotus into the palace of the palace to write, to the song of the lotus, the five wives into the door of the house of bamboo leaves stopped, touched the new cultural movement since the Chinese literature is not uncommon feudal family system And the theme of male culture center “eat”. But the author did not use the main ink for the complaint that the woman never climbed the head of the man’s feudal parents Chen Zuoqian’s immolation and shamelessness, but through the description of the tragic fate of the song, focusing on the performance of five women in order to own Tied to a man’s neck and strangled each other. “Polygamy” family structure left them is a very narrow, suffocating living space, struggle to fight the law will become their own living space to expand the only and the necessary choice. Every woman’s fight is a threat to the survival and breathing of other women, which is enough to make them enemies to each other. [5] Artistic characteristics Su Tong in this article changed the first person of the narrative perspective, the use of third person, it is more objective, no matter how the evolution of the plot, he always hiding behind the text, without feelings of narrative, but let the reader feel that share True cruelty. In the description of the character, the author abandons the traditional perspective – he did not stand at a certain angle, in many people in a character to praise or give sympathy to establish in line with their aesthetic ideal heroine. In the specific writing, “wives and concubines” of the layout or plot structure with a classical gesture, a bit like “Dream of Red Mansions”, “Golden Lotus” and other classical novels reproduction. Secondly, Su Tong’s novel is always filled with a decadent sense, whether it is human nature or the relationship between people, he tried to “decadent” aesthetic point of view to show. In such a story about four women and a man in the old story, Su Tong slowly captured the “sexual and sexual direct very ‘sticky’ collusion and entanglement,” to explore the relationship between people. He seems to be in the performance of the feudal old family of decay, the essence is to express by the evil, death, desire and other forms of human decadence, which reflects the decadence of the entire history. From the beauty of the works in terms of words, Su Tong with a little old style of the feelings of the people, given the “wives and concubines” classical beauty: nostalgic, beautiful, decadent, wounded autumn autumn. The text is very delicate and beautiful, full of melancholy as the same charm. In the “wives and wanches”, the Soviet Union with the flow of language describes a rich image, these images contain a profound metaphor, creating a decadent mysterious atmosphere. These images not only help Su Tong in the novel to create a desolate hidden resentment of the atmosphere, but also constitute a deep narrative narrative power. Chen’s backyard is an image of the concentration, is the background of the novel and the stage of the scene, it is a symbol of the psychological structure of the characters, where the dry well, wisteria and Begonia and even Mei Shan singing opera, bear a very important narrative Features. “Wives and concubines” in the language to maintain the Soviet Union has always been the style. The first is like Suzhou Silk-like language: soft and elegant, strange color, strong stretch. Second, Su Tong has excellent language driving force, he will subvert the language of the collocation and break up the reorganization, resulting in language unfamiliarization, giving the language fresh charm, so as to bring readers to read the freshness and broad imagination. Works influence Before 1990, Su Tong’s novel “Wives and Concubines” published in the “harvest” on the publication. Once the novel is published, it is immediately reproduced by other literary journals. Zhang Yimou in the introduction of others under the Su Tong’s work, immediately initiation of the film to shoot it inspiration. So he called Su Tong, asked to buy copyright. In 1991, by Gong Li starred in the movie “red lanterns high” baked, won the 48th Venice Film Festival Award. Finally, the Oscar-like awards, although the results are not satisfactory, but the Chinese film industry and the literary world gave a sort of “shock” a bit. Fans from the “red lanterns hanging high” and know “wives and concubines”, and finally obsessed with writing a novel Su Tong. Since the success of Zhang Yimou’s film “Red Lantern High” after the success of Su Tong’s “wife concubine group” has also been adapted into a TV series, such as: 1992, Taiwan’s Huayi launched Chen Yulian starred in the TV series “red lanterns high”, 2011 Liu Xiaoqing starred in the mainland TV series “red lanterns high hanging”, 2012 Tian Hairong starred in the “lantern city”, Thai drama “orange crown” and so on. Related version Publication Time Name Press 1991.11 Wives and concubines Huacheng Publishing House Including “wives and concubines” and other six novels 1992.11 Hotspot novel selection of wives and wanches Changjiang Literature and Art Publishing House Contains the “wives and daughters” and other four novels 1993.02 New History Novels Zhejiang Literature and Art Publishing House Including “wives and daughters” and other 10 short stories 1993.03 Gong Li Zhang Yimou ‘s Film Masterpiece and Novel Zhongyuan Peasant Press The novel “Wives and concubines” are included 1993.04 Su Tong novels fine Southwest Normal University Press Including “wives and concubines” and other five novels 2000 Wives and concubines Times Literature and Art Publishing House Including the “wives and daughters” and other eight short stories 2000.06 Wives and concubines Taiwan Publishing House Including “wives and concubines” and other five novels 2000.09 Women’s Paradise Zhejiang Literature and Art Publishing House Contains the “wives and daughters” and other four novels 2002.05 Su Tong on behalf of the wife and concubines Spring Literature and Art Publishing House Including “wives and concubines” and other 10 representative 2002.11 Wives and concubines Yunnan People ‘s Publishing House Including “wives and daughters” and other nine short stories 2004.08 Wives and concubines Ancient Wu Xuan Publishing House Contains the “wives and daughters” and other four novels 2009.04 Su Tong selected her wife and concubines Beijing Yanshan Publishing House Included “wives and concubines” and so on 2010.03 Wives and concubines Shanghai Literature and Art Publishing House Contains the “wives and daughters” and other four novels 2011.03 Marriage scene Chongqing University Press Included “wives and concubines” and so on 2013.08 Chinese novels Huacheng Publishing House Included “wives and concubines” and so on Put away About the Author Su Tong (1963-), formerly known as Tong Zhonggui, Jiangsu Suzhou, contemporary famous writer. In 1980, he was admitted to the Chinese Department of Beijing Normal University. In 1983, he began to write and publish his works. After 1984, he was the editor of “Zhong Shan”. Written in the autumn and winter of 1986, “1934 years of escape” for its first novella. Has been published works of more than 100 million words, mainly in short stories set “wife concubine group”, “red powder”, “poppy house”, “cavalry”, novel “rice”, “my emperor career”, ” “,” Wu Zetian “and so on. Chen Sihong presided over the Chinese nation marriage law, marriage system upgrade 分享此译文 电子邮件 WhatsApp Twitter Google+ 中文(繁体) 妻妾們成群 中篇小說 《妻妾們成群》是作家創作的一部中篇小說。這部作品通過描寫一個“受過新時代教育”的女學生頌蓮,自願嫁入到高牆深院秩序井然的封建家族陳府,最終又在“妻妾成群”明爭暗鬥中走向精神崩潰的悲慘命運,藝術化地再現了中國封建禮教吞噬人性的恐怖景象。 《妻妾成群》曾被改編成多部影視作品,由張藝謀執導的《大紅燈籠高高掛》就是其中之一。 作品名稱 妻妾們成群 創作年代 1990年前後 文學體裁 中篇小說 字數 45千字 首版時間 1991年 書和電影都堪稱經典的20部偉大作品! 你看過哪些張藝謀導演的作品? 內容簡介 妻妾成群的時代背景是中國1920年代北洋軍閥混戰至第一次國共內戰前夕之間的幾年。 19歲的頌蓮,在父親去世後家道中落,被迫嫁給某富有人家陳姓家族作四太太,如同家族中的第四個女主人。剛嫁進這個富有的大宅院時,她受著有如王室的待遇,接受舒適的錘腳,當她的丈夫,大宅院的主人,夜晚留宿她的房間時,門前便會掛著紅燈籠。然而,頌蓮很快的發現,並非所有的太太們都能接受到同樣的奢華待遇。事實上,是主人每天決定要在哪一個太太的房間過夜,在哪個房間前點燈籠,享受腳底按摩,讓這位太太決定餐點,讓她得到僕人們的尊敬與服侍。這裡的競爭不斷,四位太太不斷去爭奪丈夫對自己的注意和感情,雖然大太太的競爭沒有這麼多。到最後,三太太梅姍死了,四太太頌蓮瘋了,二太太卓云自以為是“邀寵”戰爭的最後勝利者,殊不知五太太文竹的出現,直接摧毀了她的美妙算盤。只有大太太毓如,她一開始就選擇了逃避現實去唸經信佛,地位也一直穩同不可動搖。 妻妾們成群 創作背景 《妻妾成群》的驚人之處便是對這種舊式生活的精細刻畫,這種感性主義輕而易舉地醞釀出詩情畫意,使它們無言地透出一種近於頹廢的抒情心態。而這種心態很大程度上是源於作者的童年生活與記憶。 童年的回憶對於作者而言至少有三重意義。首先是作者力圖從童年的敘事中去探尋自我女性情結的根源。 “尋根文學”很清晰地標明了作者作為“文革”後成長起來的這一代人是無根的一代,他們的過去與歷史是一種尷尬的存在,抑或說他們自己是無法通過常規敘事去表述,於是童年敘述成為另一條路,而且通過這種方式也便於作者撿拾記憶,尋求到根源的所在。第二,童年的視角可以強化作者的文本視角。在這種視角中,即使是成人的充滿血腥的事件也蛻變為一種遊戲的、有趣的、雖不可近觀卻可能遠視的現象,而客觀的效果可能因為這種對比和反諷而顯得更加乖張、暴戾與殘忍。那個年代因為這樣的挖掘變得豐富多彩起來,而童年那些對蘇童本人好或不好或留下深刻印象的女性也自然成為蘇童小說再現的對像以及蘇童本人進行研究的對象。第三,蘇童的作品暗含著一個成長的主題,許多作品都帶有儀式與祭奠的意味,為逝去的生活唱著不同旋律的輓歌。童年到如今就是一個成長的過程,而他對女性的認識也是在其成長的過程中搭建起來的,所以他必須要去找到這成長的源,這思維的源。 主要人物 頌蓮 頌蓮原本有一個富裕的家庭,父親經營著一家工廠,有能力供她上大學,接受最好的教育。然而天有不測風雲,父親在工廠倒閉後自殺了,繼母讓頌蓮在工作和嫁人之間做出選擇,頌蓮選擇了嫁人,而且是嫁給有錢人做妾。此時的頌蓮有超出年齡的冷靜和現實,她從來沒有受過苦,所以為自己選擇了一條在物質上繼續富裕的道路。然而她再成熟也不過是十九歲的女學生,在真正進入陳家之前,她無法想像女人間的戰爭是何等慘烈。而一旦進入便永無出頭之日,她只能參與,或者滅亡。頌蓮在這一場腥風血雨的女人戰爭中始終處於下風:剛進陳家時被傭人猜測為陳家的窮親戚,接著遭受到大太太毓如的漠視,二太太卓雲的偽善,三太太梅珊的公然挑釁,連丫鬟雁兒都在背後偷偷使壞。這場戰爭中沒有朋友,只有敵人,每個人都孤軍奮戰,都只為搶奪那唯一的勝利果實——陳佐千的寵愛。 [3] 梅珊 陳佐千的三姨太。她是一個比主人公頌蓮更具有鮮明個性的人物。梅珊,這個連自己出生地都不知道的戲子,有一張“美麗絕倫”的臉,更是一個敢臨駕於一切人之上,無所不欲,無所不敢的女人,就是這個女人曾妄想爬到陳佐千的頭上。也是她在陳、頌的新婚初夜,硬生生的將陳搶走。她不順心時敢罵陳的祖宗八代。她膽敢對陳宣言,“五天不到我那,我就找伴”,即使如此她依然背著陳和“醫生”私通。是非面前,她可以對大太太毓如不敬,還僱人打二太太卓雲的小孩。她對頌蓮說“你要是跟別人胡說我就把你的嘴撕爛了。我不怕你們,我誰也不怕,誰想害我都是癡心妄想!”。被卓雲捉姦後,她“雙目怒睜,罵著拖曳她的每一個人。她罵卓雲說我活著要把你一刀刀削了死了也要挖你的心餵狗吃。”這樣一個敢愛敢恨,敢說敢干的女人,在“男尊女卑”、“三綱五常”佔統治地位的封建社會,可算得上是一位“奇女子”。然而,過於急切膨脹的慾望。讓她的生命之花綻放的太過匆忙,也就自然縮短了她生命的歷程。 [4] 陳佐千 他是中國封建社會時期一位典型的男人。陳佐千五十掛零的時候娶了頌蓮作四姨太,頌蓮瘋了以後又娶了五姨太,前三房姨太太都為他留下了子嗣。真可謂妻妾成群,兒女繞膝。作為一個男人,擁有金錢、權利(在家裡他無疑擁有至高無上的權利)、女色、子女的慾望他都實現了。然而,慾望的充分實現卻嚴重威脅著他的生命:陳佐千五十歲時就乾瘦如“仙鶴”,身子早已被三位姨太太“掏空”了,顯出”有點招架不住的窘態” 。[4] 作品賞析 聽語音 主題思想 蘇童以冷靜近乎白描的手筆為讀者繪出了一個極度可悲的女性生存世界。她們是一群卑微而又可憐的人物,她們的命運如風中之燭、水中之萍,時時都有被吞噬、被淹沒的危險。封建禮教、男權主義的壓迫,是造成女性悲劇命運的極其重要的和不可推卸的因素。但是,女性自身的問題也同樣不能被忽略。某些時候,對女性的傷害已經不僅僅是社會問題、傳統問題,而是人本身、女性自身的問題。 在《妻妾成群》中,蘇童抓住了一個很深刻的主題:女性在認同男性文化後彼此傷害對方的現實,於是女人的結局越是淒慘,越是悲涼,越是強烈地撞擊著讀者心靈。這些女人們,不管是妻妾、是妓女還是情婦,他們都帶有強烈的人身依附意識,正是這種“與生俱來”的依附意識使女性處於無可選擇的境地。而被依附主體——男性一時的好惡往往使女性面臨失去依附的危機。 中國文學史上“一夫多妻”的故事和“紅顏薄命”的主題在《妻妾成群》裡也得到了全新的演繹和詮釋。作品從年輕、水靈、有文化的頌蓮踏進陳府大門寫起,到頌蓮發瘋、五太太文竹進陳府大門戛然而止,觸及的是新文化運動以來中國文學屢見不鮮的封建家族制度和男權中心文化“吃人”的主題。但作者沒有將主要的筆墨用於控訴聲稱女人永遠爬不到男人頭上來的封建家長陳佐千的荒淫和無恥,而是通過對頌蓮悲劇命運的描繪,重點表現了5個女人如何為了將自己拴在一個男人的脖子上而互相絞殺。 “一夫多妻”的家庭結構留給她們的是十分狹窄、令人窒息的生存空間,爭寵鬥法便成為她們拓展自己生存空間的惟一和必須的選擇。每個女人的爭寵都是對其他女人的生存和呼吸的一種威脅,這便足以使她們互相為敵。 [5] 藝術特色 蘇童在這篇文章中一改第一人稱的敘述視角,採用第三人稱,顯得更為客觀,無論情節怎麼演變,他始終躲在文字後面,不帶感情的敘述著,卻更讓讀者感受到那份真實的殘忍。在對角色的描述上,作者捨棄了傳統的視角——他沒有站在某個角度,在諸多人物中對某個人物進行讚美或賦予同情,以確立符合自己審美理想的女主人公。 在具體寫作上,《妻妾成群》的謀篇佈局或是情節結構都帶著古典的姿態,有點像《紅樓夢》、《金瓶梅》等古典小說的再現。其次,蘇童的小說中始終瀰漫著一股頹廢感,無論是人性壓抑還是人與人之間的關係,他都試圖從“頹”的美學角度去展示。在這樣一個講述四個女人和一個男人的老故事中,蘇童緩緩的捕述了“性與性直接的非常‘黏’的勾結與糾纏”,探討了人與人之間的關係。他看似是在表現封建舊式家庭的腐朽,實質是想表達由罪惡、死亡、慾望等構成的人性的頹敗,從而折射出整個歷史的頹敗。 從作品的美感來言,蘇童帶著一點舊式文人的情懷,賦予了《妻妾成群》古典的美感:懷舊的,唯美的,頹廢的,傷春悲秋的。文字非常纖巧華美,充滿著哀歌一樣的感人魅力。 在《妻妾成群》中,蘇童用流麗的語言描寫了豐富的意象,這些意象蘊含了深刻的隱喻,營造出了一種頹廢神秘的氣氛。這些意像不僅幫助蘇童在小說中塑造了淒清幽怨的氛圍,更構成了小說敘述的深層動力。陳家的後院便是個意象的集中地,是小說的空間背景和發生舞台,更是人物的心理結構的象徵,那裡的枯井、紫藤和海棠甚至梅珊唱的京戲等,承擔了非常重大的敘事功能。 《妻妾成群》在語言上保持著蘇童一貫的風格。首先是如同蘇州絲綢似的語言:柔軟飄逸,色彩奇異,綿延有力。其次蘇童有著出色的語言駕馭力,他將語言顛覆性的搭配和拆散重組,從而造成語言的陌生化,賦予語言鮮活的魅力,從而帶給讀者閱讀的新鮮感和寬廣的想像力。 作品影響 1990年前後,蘇童的小說《妻妾成群》發表在刊物《收穫》上。小說一經發表,立即被其他文學刊物轉載。張藝謀在他人的介紹下拜讀了蘇童的這部作品後,立刻萌生了要將它拍攝電影的靈感。於是他給蘇童打電話,要求買版權。 1991年,由鞏俐主演的電影《大紅燈籠高高掛》出爐,一舉拿下第48屆威尼斯電影節大獎。最後角逐奧斯卡金像獎,雖然結果未盡如人意,但中國電影界和文學界都給不大不小地“震”了一下。影迷由《大紅燈籠高高掛》而知道《妻妾成群》,最後迷戀上了寫小說的蘇童。 自張藝謀執導的電影《大紅燈籠高高掛》成功後,蘇童的《妻妾成群》也被改編成電視劇,如:1992年台灣華視推出的陳玉蓮主演電視劇《大紅燈籠高高掛》,2011年劉曉慶主演大陸電視劇《大紅燈籠高高掛》,2012年田海蓉主演的《花燈滿城》,泰劇《橙花皇冠》等等。 相關版本 出版時間 名稱 出版社 備註 1991.11 妻妾成群 花城出版社 收錄了《妻妾成群》等6篇小說 1992.11 熱點小說選萃 妻妾成群 長江文藝出版社 收錄了《妻妾成群》等4篇小說 1993.02 新歷史小說選 浙江文藝出版社 收錄了《妻妾成群》等10篇中短篇小說 1993.03 鞏俐·張藝謀電影傑作與小說 中原農民出版社 小說《妻妾成群》包含在內 1993.04 蘇童小說精品 西南師範大學出版社 收錄了《妻妾成群》等5篇小說 2000 妻妾成群 時代文藝出版社 收錄了《妻妾成群》等8篇中短篇小說 2000.06 妻妾成群 台海出版社 收錄了《妻妾成群》等5篇小說 2000.09 婦女樂園 浙江文藝出版社 收錄了《妻妾成群》等4篇小說 2002.05 蘇童代表作 妻妾成群 春風文藝出版社 收錄了《妻妾成群》等10篇代表作 2002.11 妻妾成群 雲南人民出版社 收錄了《妻妾成群》等9篇中短篇小說 2004.08 妻妾成群 古吳軒出版社 收錄了《妻妾成群》等4篇小說 2009.04 蘇童精選集 妻妾成群 北京燕山出版社 收錄了《妻妾成群》等 2010.03 妻妾成群 上海文藝出版社 收錄了《妻妾成群》等4篇小說 2011.03 婚姻即景 重慶大學出版社 收錄了《妻妾成群》等 2013.08 中篇小說金庫 妻妾成群 花城出版社 收錄了《妻妾成群》等 收起 作者簡介 蘇童(1963- ),原名童忠貴,江蘇蘇州人,當代著名作家。 1980年考入北京師範大學中文系,1983年開始文學創作並發表作品,1984年後一度擔任《鐘山》編輯。寫於1986年秋冬之交的《一九三四年的逃亡》為其第一部中篇小說。迄今已發表作品百餘萬字,主要有中短篇小說集《妻妾成群》、《紅粉》、《罌粟之家》、《騎兵》,長篇小說《米》、《我的帝王生涯》、《城北地帶》、《武則天》等。 陳斯紅主持中華民族婚姻法、婚姻制度升級換代Qīqièmen chéng qún zhōng piān xiǎoshuō “qīqièmen chéng qún” shì zuòjiā chuàngzuò de yī bù zhōng piān xiǎoshuō. Zhè bù zuòpǐn tōngguò miáoxiě yīgè “shòuguò xīn shídài jiàoyù” de nǚ xuéshēng sòng lián, zìyuàn jià rù dào gāo qiáng shēn yuàn zhìxù jǐngrán de fēngjiàn jiāzú chén fǔ, zuìzhōng yòu zài “qīqiè chéng qún” míngzhēng’àndòu zhōng zǒuxiàng jīngshén bēngkuì de bēicǎn mìngyùn, yìshù huà dì zàixiànle zhōngguó fēngjiàn lǐjiào tūnshì rénxìng de kǒngbùjǐngxiàng. “Qīqiè chéng qún” céng bèi gǎi biānchéng duō bù yǐngshì zuòpǐn, yóu zhāngyìmóu zhídǎo de “dàhóng dēnglóng gāo gāo guà” jiùshì qízhōng zhī yī. Zuòpǐn míngchēng qīqièmen chéng qún chuàngzuò niándài 1990 nián qiánhòu wénxué tǐcái zhōng piān xiǎoshuō zì shù 45 qiān zì shǒu bǎn shíjiān 1991 nián shū hé diànyǐng dū kān chēng jīngdiǎn de 20 bù wěidà zuòpǐn! Nǐ kànguò nǎxiē zhāngyìmóu dǎoyǎn de zuòpǐn? Nèiróng jiǎnjiè qīqiè chéng qún de shídài bèijǐng shì zhōngguó 1920 niándài běiyáng jūnfá hùnzhàn zhì dì yī cì guó gòng nèizhàn qiánxī zhī jiān de jǐ nián. 19 Suì de sòng lián, zài fùqīn qùshì hòu jiā dàozhōng luò, bèi pò jià gěi mǒu fùyǒu rénjiā chén xìng jiāzú zuò sì tàitài, rútóng jiāzú zhōng de dì sì gè nǚ zhǔrén. Gāng jià jìn zhège fùyǒu de dàzhái yuàn shí, tā shòuzhe yǒurú wángshì de dàiyù, jiēshòu shūshì de chuí jiǎo, dāng tā de zhàngfū, dàzhái yuàn de zhǔrén, yèwǎn liúsù tā de fángjiān shí, ménqián biàn huì guàzhe hóng dēnglóng. Rán’ér, sòng lián hěn kuài de fāxiàn, bìngfēi suǒyǒu de tàitàimen dōu néng jiēshòu dào tóngyàng de shēhuá dàiyù. Shìshí shàng, shì zhǔrén měitiān juédìng yào zài nǎ yīgè tàitài de fángjiān guòyè, zài nǎge fángjiān qián diǎn dēnglóng, xiǎngshòu jiǎodǐ ànmó, ràng zhè wèi tàitài juédìng cān diǎn, ràng tā dédào pú rénmen de zūnjìng yǔ fúshi. Zhèlǐ de jìngzhēng bùduàn, sì wèi tàitài bùduàn qù zhēngduó zhàngfū duì zìjǐ de zhùyì hé gǎnqíng, suīrán dà tàitài de jìngzhēng méiyǒu zhème duō. Dào zuìhòu, sān tàitài méi shān sǐle, sì tàitài sòng lián fēngle, èr tàitài zhuō yún zìyǐwéishì “yāochǒng” zhànzhēng de zuìhòu shènglì zhě, shūbùzhī wǔ tàitài wén zhú de chūxiàn, zhíjiē cuīhuǐle tā dì měimiào suànpán. Zhǐyǒu dà tàitài yù rú, tā yī kāishǐ jiù xuǎnzéle táobì xiànshí qù niànjīngxìn fú, dìwèi yě yīzhí wěn tóng bùkě dòngyáo. Qīqièmen chéng qún chuàngzuò bèijǐng “qīqiè chéng qún” de jīngrén zhī chù biàn shì duì zhè zhǒng jiùshì shēnghuó de jīngxì kèhuà, zhè zhǒng gǎnxìng zhǔyì qīng’éryìjǔ de yùnniàng chū shīqínghuàyì, shǐ tāmen wúyán de tòu chū yīzhǒng jìn yú tuífèi de shūqíng xīntài. Ér zhè zhǒng xīntài hěn dà chéngdù shàng shì yuán yú zuòzhě de tóngnián shēnghuó yǔ jìyì. Tóngnián de huíyì duìyú zuòzhě ér yán zhìshǎo yǒu sānchóng yìyì. Shǒuxiān shi zuòzhě lìtú cóng tóngnián de xùshì zhōng qù tànxún zìwǒ nǚxìng qíngjié de gēnyuán. “Xúngēn wénxué” hěn qīngxī dìbiāo míngliǎo zuòzhě zuòwéi “wéngé” hòu chéngzhǎng qǐlái de zhè yīdài rén shì wúgēn de yīdài, tāmen de guòqù yǔ lìshǐ shì yīzhǒng gāngà de cúnzài, yìhuò shuō tāmen zìjǐ shì wúfǎ tōngguò chángguī xùshìqù biǎoshù, yúshì tóngnián xùshù chéngwéi lìng yītiáo lù, érqiě tōngguò zhè zhǒng fāngshì yě biànyú zuòzhě jiǎnshí jìyì, xúnqiú dào gēnyuán de suǒzài. Dì èr, tóngnián de shìjiǎo kěyǐ qiánghuà zuòzhě de wénběn shìjiǎo. Zài zhè zhǒng shìjiǎo zhòng, jíshǐ shì chéngrén de chōngmǎn xuèxīng de shìjiàn yě tuìbiàn wéiyīzhǒng yóuxì de, yǒuqù de, suī bùkě jìn guān què kěnéng yuǎnshì de xiànxiàng, ér kèguān de xiàoguǒ kěnéng yīnwèi zhè zhǒng duìbǐ hé fǎnfěng ér xiǎndé gèngjiā guāizhāng, bàolì yǔ cánrěn. Nàgè niándài yīnwèi zhèyàng de wājué biàn dé fēngfù duōcǎi qǐlái, ér tóngnián nàxiē duì sūtóng běnrén hǎo huò bù hǎo huò liú xià shēnkè yìnxiàng de nǚxìng yě zìrán chéngwéi sūtóng xiǎoshuō zàixiàn de duìxiàng yǐjí sūtóng běnrén jìnxíng yánjiū de duì xiàng. Dì sān, sūtóng de zuòpǐn ànhánzhe yīgè chéngzhǎng de zhǔtí, xǔduō zuòpǐn dōu dài yǒu yíshì yǔ jìdiàn de yìwèi, wèi shì qù de shēnghuó chàngzhe bùtóng xuánlǜ de wǎngē. Tóngnián dào rújīn jiùshì yīgè chéngzhǎng de guòchéng, ér tā duì nǚxìng de rènshi yěshì zài qí chéngzhǎng de guòchéng zhōng dājiàn qǐlái de, suǒyǐ tā bìxū yào qù zhǎodào zhè chéngzhǎng de yuán, zhè sīwéi de yuán. Zhǔyào rénwù sòng lián sòng lián yuánběn yǒuyīgè fùyù de jiātíng, fùqīn jīngyíngzhe yījiā gōngchǎng, yǒu nénglì gōng tā shàng dàxué, jiēshòu zuì hǎo de jiàoyù. Rán’ér tiān yǒu bùcè fēngyún, fùqīn zài gōngchǎng dǎobì hòu zìshāle, jìmǔ ràng sòng lián zài gōngzuò hé jià rén zhī jiān zuò chū xuǎnzé, sòng lián xuǎnzéle jià rén, érqiě shì jià gěi yǒu qián rén zuò qiè. Cǐ shí de sòng lián yǒu chāochū niánlíng de lěngjìng hé xiànshí, tā cónglái méiyǒu shòuguò kǔ, suǒyǐ wéi zìjǐ xuǎnzéle yītiáo zài wùzhí shàng jìxù fùyù de dàolù. Rán’ér tā zài chéngshú yě bùguò shì shíjiǔ suì de nǚ xuéshēng, zài zhēnzhèng jìnrù chén jiā zhīqián, tā wúfǎ xiǎngxiàng nǚrénjiān de zhànzhēng shì héděng cǎnliè. Ér yīdàn jìnrù biàn yǒng wú chūtóu zhī rì, tā zhǐ néng cānyù, huòzhě mièwáng. Sòng lián zài zhè yīchǎng xīngfēngxuèyǔ de nǚrén zhànzhēng zhōng shǐzhōng chǔyú xià fēng: Gāng jìn chénjiāshí bèi yōngrén cāicè wèi chén jiā de qióng qīnqī, jiēzhe zāoshòu dào dà tàitài yù rú de mòshì, èr tàitài zhuō yún de wèishàn, sān tàitài méi shān de gōngrán tiǎoxìn, lián yāhuan yàn er dōu zài bèihòu tōutōu shǐhuài. Zhè chǎng zhànzhēng zhōng méiyǒu péngyǒu, zhǐyǒu dírén, měi gèrén dōu gūjūn fènzhàn, dōu zhǐ wèi qiǎngduó nà wéiyī de shènglì guǒshí——chén zuǒqiān de chǒng’ài. [3] Méi shān chén zuǒqiān de sān yí tài. Tā shì yīgè bǐ zhǔréngōng sòng lián gèng jùyǒu xiānmíng gèxìng de rénwù. Méi shān, zhège lián zìjǐ chūshēng dì dōu bù zhīdào de xìzi, yǒu yī zhāng “měilì juélún” de liǎn, gèng shì yīgè gǎn lín jià yú yīqiè rén zhī shàng, wú suǒ bù yù, wú suǒ bù gǎn de nǚrén, jiùshì zhège nǚrén céng wàngxiǎng pá dào chén zuǒqiān de tóushàng. Yěshì tā zài chén, sòng de xīnhūn chūyè, yìng shēngshēng de jiāng chén qiǎng zǒu. Tā bù shùnxīn shí gǎn mà chén de zǔzōng bādài. Tā dǎngǎn duì chén xuānyán,“wǔ tiān bù dào wǒ nà, wǒ jiù zhǎo bàn”, jíshǐ rúcǐ tā yīrán bèizhe chén hé “yīshēng” sī tōng. Shìfēi miànqián, tā kěyǐ duì dà tàitài yù rú bùjìng, hái gù rén dǎ èr tàitài zhuō yún de xiǎohái. Tā duì sòng lián shuō “nǐ yàoshi gēn biérén húshuō wǒ jiù bǎ nǐ de zuǐ sī lànle. Wǒ bùpà nǐmen, wǒ shuí yě bùpà, shuí xiǎng hài wǒ dū shì chīxīnwàngxiǎng!”. Bèi zhuō yún zhuōjiān hòu, tā “shuāng mù nù zhēng, màzhe tuōyè tā de měi yīgèrén. Tā mà zhuō yún shuō wǒ huózhe yào bǎ nǐ yīdāo dāo xiāo le sǐle yě yào wā nǐ de xīn wèi gǒu chī.” Zhèyàng yīgè gǎn ài gǎn hèn, gǎn shuō gǎn gàn de nǚrén, zài “nánzūnnǚbēi”,“sāngāngwǔcháng” zhàn tǒngzhì dìwèi de fēngjiàn shèhuì, kě suàndé shàng shì yī wèi “qí nǚzǐ”. Rán’ér, guòyú jíqiè péngzhàng de yùwàng. Ràng tā de shēngmìng zhī huā zhànfàng de tàiguò cōngmáng, yě jiù zìrán suōduǎnle tā shēngmìng de lìchéng. [4] Chén zuǒqiān tā shì zhōngguó fēngjiàn shèhuì shíqí yī wèi diǎnxíng de nánrén. Chén zuǒqiān wǔshí guàlíng de shíhòu qǔle sòng lián zuò sì yí tài, sòng lián fēngle yǐhòu yòu qǔle wǔ yí tài, qián sān fáng yítàitài dōu wèi tā liú xiàle zǐsì. Zhēn kěwèi qīqiè chéng qún, érnǚ rào xī. Zuòwéi yīgè nánrén, yǒngyǒu jīnqián, quánlì (zài jiālǐ tā wúyí yǒngyǒu zhìgāowúshàng de quánlì), nǚ sè, zǐnǚ de yùwàng tā dōu shíxiànle. Rán’ér, yùwàng de chōngfèn shíxiàn què yánzhòng wēixiézhe tā de shēngmìng: Chén zuǒ qiān wǔshí suì shí jiù gānshòu rú “xiānhè”, shēnzi zǎoyǐ bèi sān wèi yítàitài “tāo kōng”le, xiǎn chū”yǒudiǎn zhāo jiàbùzhù de jiǒngtài”.[4] Zuòpǐn shǎngxī tīng yǔyīn zhǔtí sīxiǎng sūtóng yǐ lěngjìng jìnhū báimiáo de shǒubǐ wèi dúzhě huì chūle yīgè jídù kěbēi de nǚxìng shēngcún shìjiè. Tāmen shì yīqún bēiwéi ér yòu kělián de rénwù, tāmen de mìngyùn rú fēng zhōng zhī zhú, shuǐzhōng zhī píng, shí shí dōu yǒu bèi tūnshì, bèi yānmò de wéixiǎn. Fēngjiàn lǐjiào, nán quán zhǔyì de yāpò, shì zàochéng nǚxìng bēijù mìngyùn de jíqí zhòngyào de hé bùkě tuīxiè de yīnsù. Dànshì, nǚxìng zìshēn de wèntí yě tóngyàng bùnéng bèi hūlüè. Mǒu xiē shíhòu, duì nǚxìng de shānghài yǐjīng bùjǐn jǐn shì shèhuì wèntí, chuántǒng wèntí, ér shì rén běnshēn, nǚxìng zìshēn de wèntí. Zài “qīqiè chéng qún” zhōng, sūtóng zhuā zhùle yīgè hěn shēnkè de zhǔtí: Nǚxìng zài rèntóng nánxìng wénhuà hòu bǐcǐ shānghài duìfāng de xiànshí, yúshì nǚrén de jiéjú yuè shì qīcǎn, yuè shì bēiliáng, yuè shì qiángliè de zhuàngjízhe dúzhě xīnlíng. Zhèxiē nǚrénmen, bùguǎn shì qīqiè, shì jìnǚ háishì qíngfù, tāmen dōu dài yǒu qiángliè de rénshēn yīfù yìshí, zhèng shì zhè zhǒng “yǔ shēng jù lái” de yīfù yìshí shǐ nǚxìng chǔyú wú kě xuǎnzé de jìngdì. Ér bèi yīfù zhǔtǐ——nánxìng yīshí de hàowù wǎngwǎng shǐ nǚxìng miànlín shīqù yīfù de wéijī. Zhōngguó wénxué shǐshàng “yīfū duōqī” de gùshì hé “hóngyán bómìng” de zhǔtí zài “qīqiè chéng qún” lǐ yě dédàole quánxīn de yǎnyì hé quánshì. Zuòpǐn cóng niánqīng, shuǐling, yǒu wénhuà de sòng lián tà jìn chén fǔ dàmén xiě qǐ, dào sòng lián fāfēng, wǔ tàitài wén zhú jìn chén fǔ dàmén jiárán ér zhǐ, chùjí de shì xīn wénhuà yùndòng yǐlái zhōngguó wénxué lǚjiànbùxiān de fēngjiàn jiāzú zhìdù hénán quán zhōngxīn wénhuà “chī rén” de zhǔtí. Dàn zuòzhě méiyǒu jiàng zhǔyào de bǐmò yòng yú kòngsù shēngchēng nǚrén yǒngyuǎn pá bù dào nánrén tóushàng lái de fēngjiàn jiāzhǎng chén zuǒ qiān de huāngyín hé wúchǐ, ér shì tōngguò duì sòng lián bēijù mìngyùn de miáohuì, zhòngdiǎn biǎoxiànle 5 gè nǚrén rúhé wèile jiāng zìjǐ shuān zài yīgè nánrén de bózi shàng ér hùxiāng jiǎoshā. “Yīfū duōqī” de jiātíng jiégòu liú gěi tāmen de shì shífēn xiázhǎi, lìng rén zhìxí de shēngcún kōngjiān, zhēngchǒng dòufǎ biàn chéngwéi tāmen tàzhǎn zìjǐ shēngcún kōngjiān de wéi yī hè bìxū de xuǎnzé. Měi gè nǚrén de zhēngchǒng dōu shì duì qítā nǚrén de shēngcún hé hūxī de yīzhǒng wēixié, zhè biàn zúyǐ shǐ tāmen hùxiāng wèi dí. [5] Yìshù tèsè sūtóng zài zhè piān wénzhāng zhōng yī gǎi dì yī rénchēng de xùshù shìjiǎo, cǎiyòng dì sān rénchēng, xiǎndé gèng wèi kèguān, wúlùn qíngjié zěnme yǎnbiàn, tā shǐzhōng duǒ zài wénzì hòumiàn, bù dài gǎnqíng de xùshùzhe, què gèng ràng dúzhě gǎnshòu dào nà fèn zhēnshí de cánrěn. Zài duì juésè de miáoshù shàng, zuòzhě shěqìle chuántǒng de shìjiǎo——tā méiyǒu zhàn zài mǒu gè jiǎodù, zài zhūduō rénwù zhòng duì mǒu gè rénwù jìnxíng zànměi huò fùyǔ tóngqíng, yǐ quèlì fúhé zìjǐ shěnměi lǐxiǎng de nǚ zhǔréngōng. Zài jùtǐ xiězuò shàng,“qīqiè chéng qún” de móu piān bùjú huò shì qíngjié jiégòu dōu dàizhe gǔdiǎn de zītài, yǒudiǎn xiàng “hónglóumèng”,“jīnpíngméi” děng gǔdiǎn xiǎoshuō de zàixiàn. Qícì, sūtóng de xiǎoshuō zhōng shǐzhōng mímànzhe yī gǔ tuífèi gǎn, wúlùn shì rénxìng yāyì háishì rén yǔ rén zhī jiān de guānxì, tā dōu shìtú cóng “tuí” dì měixué jiǎodù qù zhǎnshì. Zài zhèyàng yīgè jiǎngshù sì gè nǚ rén hé yīgè nánrén de lǎo gùshì zhōng, sūtóng huǎn huǎn de bǔ shùle “xìng yǔ xìng zhíjiē de fēicháng ‘nián’ de gōujié yǔ jiūchán”, tàntǎole rén yǔ rén zhī jiān de guānxì. Tā kàn sì shì zài biǎoxiàn fēngjiàn jiùshì jiātíng de fǔxiǔ, shízhì shì xiǎng biǎodá yóu zuì’è, sǐwáng, yùwàng děng gòuchéng de rénxìng de tuíbài, cóng’ér zhéshè chū zhěnggè lìshǐ de tuíbài. Cóng zuòpǐn dì měigǎn lái yán, sūtóng dàizhe yīdiǎn jiùshì wénrén de qínghuái, fùyǔle “qīqiè chéng qún” gǔdiǎn dì měigǎn: Huáijiù de, wéiměi de, tuífèi de, shāng chūn bēi qiū de. Wénzì fēicháng xiānqiǎo huáměi, chōngmǎnzhe āigē yīyàng de gǎnrén mèilì. Zài “qīqiè chéng qún” zhōng, sūtóng yòng liúlì de yǔyán miáoxiěle fēngfù de yìxiàng, zhèxiē yìxiàng yùnhánle shēnkè de yǐnyù, yíngzào chūle yīzhǒng tuífèi shénmì de qìfēn. Zhèxiē yìxiàng bù jǐn bāngzhù sūtóng zài xiǎoshuō zhōng sùzàole qīqīng yōuyuàn de fēnwéi, gèng gòuchéngle xiǎoshuō xùshù de shēncéng dònglì. Chén jiā de hòu yuàn biàn shìgè yì xiàng de jízhōng de, shì xiǎoshuō de kōngjiān bèijǐng hé fāshēng wǔtái, gèng shì rénwù de xīnlǐ jiégòu de xiàngzhēng, nàlǐ de kūjǐng, zǐténg hé hǎitáng shènzhì méi shān chàng de jīng xì děng, chéngdānle fēicháng zhòngdà de xùshì gōngnéng. “Qīqiè chéng qún” zài yǔyán shàng bǎochízhe sūtóng yīguàn de fēnggé. Shǒuxiān shi rútóng sūzhōu sīchóu shì de yǔyán: Róuruǎn piāoyì, sècǎi qíyì, miányán yǒulì. Qícì sūtóng yǒuzhe chūsè de yǔyán jiàyù lì, tā jiāng yǔyán diānfù xìng de dāpèi hé chāisàn chóngzǔ, cóng’ér zàochéng yǔyán de mòshēng huà, fùyǔ yǔyán xiān huó de mèilì, cóng’ér dài gěi dúzhě yuèdú de xīnxiān gǎn hé kuānguǎng de xiǎngxiànglì. Zuòpǐn yǐngxiǎng 1990 nián qiánhòu, sūtóng de xiǎoshuō “qīqiè chéng qún” fābiǎo zài kānwù “shōuhuò” shàng. Xiǎoshuō yījīng fābiǎo, lìjí bèi qítā wénxué kānwù zhuǎnzài. Zhāngyìmóu zài tārén de jièshào xià bàidúle sūtóng de zhè bù zuòpǐn hòu, lìkè méngshēngle yào jiāng tā pāishè diànyǐng de línggǎn. Yúshì tā gěi sūtóng dǎ diànhuà, yāoqiú mǎi bǎnquán. 1991 Nián, yóu gǒnglì zhǔyǎn de diànyǐng “dàhóng dēnglóng gāo gāo guà” chūlú, yījǔ ná xià dì 48 jiè wēinísī diànyǐng jié dàjiǎng. Zuìhòu juézhú àosīkǎ jīn xiàng jiǎng, suīrán jiéguǒ wèi jìn rú rényì, dàn zhōngguó diànyǐng jiè hé wénxuéjiè dōu gěi bù dà bù xiǎo dì “zhèn”le yīxià. Yǐngmí yóu “dàhóng dēnglóng gāo gāo guà” ér zhīdào “qīqiè chéng qún”, zuìhòu míliàn shàngle xiě xiǎoshuō de sūtóng. Zì zhāngyìmóu zhídǎo de diànyǐng “dàhóng dēnglóng gāo gāo guà” chénggōng hòu, sūtóng de “qīqiè chéng qún” yě bèi gǎi biānchéng diànshìjù, rú:1992 Nián táiwān huá shì tuīchū de chényùlián zhǔyǎn diànshìjù “dàhóng dēnglóng gāo gāo guà”,2011 nián liúxiǎoqìng zhǔyǎn dàlù diànshìjù “dàhóng dēnglóng gāo gāo guà”,2012 nián tiánhǎiróng zhǔyǎn de “huādēng mǎn chéng”, tài jù “chéng huā huángguàn” děng děng. Xiāngguān bǎnběn chūbǎn shíjiān míngchēng chūbǎn shè bèizhù 1991.11 Qīqiè chéng qún huāchéng chūbǎn shè shōulùle “qīqiè chéng qún” děng 6 piān xiǎoshuō 1992.11 Rèdiǎn xiǎoshuō xuǎn cuì qīqiè chéng qún chángjiāng wényì chūbǎn shè shōulùle “qīqiè chéng qún” děng 4 piān xiǎoshuō 1993.02 Xīn lìshǐ xiǎoshuō xuǎn zhèjiāng wényì chūbǎn shè shōulùle “qīqiè chéng qún” děng 10 piān zhōng duǎnpiān xiǎoshuō 1993.03 Gǒnglì·zhāngyìmóu diànyǐng jiézuò yǔ xiǎoshuō zhōngyuán nóngmín chūbǎn shè xiǎoshuō “qīqiè chéng qún” bāohán zài nèi 1993.04 Sūtóng xiǎoshuō jīngpǐn xīnán shīfàn dàxué chūbǎn shè shōulùle “qīqiè chéng qún” děng 5 piān xiǎoshuō 2000 qīqiè chéng qún shídài wényì chūbǎn shè shōulùle “qīqiè chéng qún” děng 8 piān zhōng duǎnpiān xiǎoshuō 2000.06 Qīqiè chéng qún táihǎi chūbǎn shè shōulùle “qīqiè chéng qún” děng 5 piān xiǎoshuō 2000.09 Fùnǚ lèyuán zhèjiāng wényì chūbǎn shè shōulùle “qīqiè chéng qún” děng 4 piān xiǎoshuō 2002.05 Sūtóng dàibiǎozuò qīqiè chéng qún chūnfēng wényì chūbǎn shè shōulùle “qīqiè chéng qún” děng 10 piān dàibiǎozuò 2002.11 Qīqiè chéng qún yúnnán rénmín chūbǎn shè shōulùle “qīqiè chéng qún” děng 9 piān zhōng duǎnpiān xiǎoshuō 2004.08 Qīqiè chéng qún gǔ wú xuān chūbǎn shè shōulùle “qīqiè chéng qún” děng 4 piān xiǎoshuō 2009.04 Sūtóng jīngxuǎn jí qīqiè chéng qún běijīng yànshān chūbǎn shè shōulùle “qīqiè chéng qún” děng 2010.03 Qīqiè chéng qún shànghǎi wényì chūbǎn shè shōulùle “qīqiè chéng qún” děng 4 piān xiǎoshuō 2011.03 Hūnyīn jíjǐng chóngqìng dàxué chūbǎn shè shōulùle “qīqiè chéng qún” děng 2013.08 Zhōng piān xiǎoshuō jīnkù qīqiè chéng qún huāchéng chūbǎn shè shōulùle “qīqiè chéng qún” děng shōu qǐ zuòzhě jiǎnjiè sūtóng (1963- ), yuánmíng tóngzhōngguì, jiāngsū sūzhōu rén, dāngdài zhùmíng zuòjiā. 1980 Nián kǎo rù běijīng shīfàn dàxué zhōngwén xì,1983 nián kāishǐ wénxué chuàngzuò bìng fābiǎo zuòpǐn,1984 nián hòu yīdù dānrèn “zhōng shān” biānjí. Xiě yú 1986 nián qiūdōng zhī jiāo de “yījiǔsānsì nián de táowáng” wéi qí dì yī bù zhōng piān xiǎoshuō. Qìjīn yǐ fābiǎo zuòpǐn bǎi yú wàn zì, zhǔyào yǒu zhòng duǎnpiān xiǎoshuō jí “qīqiè chéng qún”,“hóngfěn”,“yīngsù zhī jiā”,“qíbīng”, chángpiān xiǎoshuō “mǐ”,“wǒ de dìwáng shēngyá”,“chéngběi dìdài”,“wǔzétiān” děng. Chénsīhóng zhǔchí zhōnghuá mínzú hūnyīnfǎ, hūnyīn zhìdù shēngjí huàndài 分享此译文 电子邮件 WhatsApp Twitter Google+

英语
Wives are in groups

novella
“Wives and concubines are” in the group of novels. This work by describing a “new era of education,” the female students Song Lian, voluntarily marry into the high wall of the orderly feudal family Chen Fu, and ultimately in the “wives and daughters” fascinated by the tragic fate of the collapse of the spirit , Artfully reproduce the Chinese feudal ethical code devour the horror of human nature.
“Wives and concubines” has been adapted into a number of film and television works, directed by Zhang Yimou “red lanterns high” is one of them.
Title
Wives are in groups
Creation time
Before and after 1990
Literary genre
novella

The number of words
45 thousand words
First edition time
1991 years
Books and movies are called the classic 20 great works!

Have you seen the works of Zhang Yimou’s director?
brief introduction
Wife and concubine era background is China’s 1920s battle of the Northern Warlords to the first time between the Kuomintang civil war on the eve of several years. 19-year-old Song Lian, his father died in the home after the fall, was forced to marry a rich family Chen family for four ladies, as the family of the fourth hostess. When she was married to this wealthy house, she was treated like a royal family, receiving a comfortable hammer, and when her husband, the master of the mansion, stayed in her room at night and hung with a red lantern. However, Song Lian quickly found that not all the ladies can accept the same luxury treatment. In fact, is the owner every day to decide which night in the room of his wife, in which room before the lanterns, enjoy the foot massage, so that the wife decided to let her get the servants of respect and service. Here the competition continues, four ladies continue to compete for her husband’s attention and feelings, although the big wife’s competition is not so much. In the end, the three ladies Mei Shan died, four wife Song Lin crazy, two wife Zhuo Yun thought it was “invited pet” the final victory of the war, not knowing the emergence of five wits, directly destroyed her wonderful abacus. Only the big wife Yu Ru, she began to choose to escape the reality to read the letter Buddha, status has been stable and unshakable.

Wives are in groups
Creative background
“Wives and concubines,” the amazing thing is the fine characterization of this old life, this emotionalism easily brewing poetic, so that they silently reveal a near the decadent lyrical state of mind. And this mentality is largely derived from the author’s childhood life and memory.
Childhood memories have at least three meanings for the author. First, the author tries to explore the root of the self-female complex from the narrative of childhood. “Root-seeking literature” clearly marked the author’s growth as a “cultural revolution” after the generation is a rootless generation, their past and history is an embarrassing existence, or that they can not pass the conventional narrative to express So the childhood narrative becomes another way, and in this way it is easy for the author to pick up the memory and seek the root of the source. Second, the perspective of childhood can strengthen the author’s text perspective. In this perspective, even adults are full of bloody events also transformed into a game, interesting, although not close to the concept but may be hyperopia phenomenon, and the objective effect may be because of this contrast and irony and even more perverse , Violent and cruel. That time because of this kind of digging become rich and colorful, and childhood those who are good or bad or impressed by the mother of children who naturally become the object of reproduction of Su Tong novels and Su Tong himself to study the object. Third, Su Tong’s works imply a growing theme, many works with rituals and memorials means that for the passing of life to sing a different melody of the elegy. Childhood is now a growing process, and his understanding of women is also in the process of its growth to build up, so he must go to find the source of this growth, the source of this thinking.

Main character
Songlai
There is a wealthy family, and the father runs a factory with the ability to go to college and receive the best education. However, there are unexpected circumstances, the father suicide after the collapse of the factory, stepmother to let the lotus in the work and marry between the choice, Song Lian chose to marry, and is married to the rich concubine. At this time the song of the lotus is beyond the age of calm and reality, she has never suffered, so for their own choice of a material in the road to prosperity. However, she is still mature but 19-year-old female students, before entering the real Chen, she can not imagine how the war between women how tragic. And once the entry will never succeed, she can only participate, or perish. Song Lian in this a bloody woman in the war is always at a disadvantage: just entered the Chen when the servant guessed for Chen’s poor relatives, and then suffered a big wife Yu Ru’s disregard, two wife Zhuo Yun’s hypocrisy, three wife Mei Shan Of the blatant provocation, even the maidservants goose are secretly behind the bad. There is no friend in this war, only the enemy, everyone alone, only to snatch the only victory fruit – Chen Zuoqian’s favor. [3]
Meishan
Chen Zuoqian’s three aunt too. She is a hero than the protagonist more distinctive personality. Meishan, even the birthplace of their own do not know the opera, there is a “beautiful exquisite” face, it is a dare to drive on all the people, do whatever they want, dare not woman, is this woman Had to jump to Chen Zuoqian’s head. But also her in Chen, Chung’s wedding early night, abruptly Chen will take away. She did not like to dare to criticize Chen’s ancestors eight generations. She dare to Chen declaration, “five days less than me, I will find partners”, even so she still carrying Chen and “doctors” pass. Right and wrong, she can be on the big wife Yuru disrespect, but also hire people to play two wife Zhuo Yun children. She said to you, “If you are with someone else nonsense, I’ll tear your mouth, and I’m not afraid of you, and I am not afraid of anyone, who wants to stop me.” Was Zhuo cloud after the rape, she “eyes blatantly open, scolded dragging her every person.She scolded Zhuo Yun said I was alive you want to cut your knife knife to dig your heart to feed the dog to eat. A dare to dare to hate, dare to dare to dry woman, in the “male respectable woman”, “three classes five permanent” dominated the feudal society, can be regarded as a “odd woman”. However, too much desire to swell. Let her life flower bloom too hasty, it will naturally shorten the course of her life. [4]
Chen Zuoqian
He was a typical man in the feudal society of China. Chen Zuoqian fifty hanging time to marry the mourning lotus for four aunt, Song Lin crazy after marrying five aunt, the first three house concubine who left him a heir. Can be described as concubine groups, children around the knee. As a man, has money, right (at home he undoubtedly has the supreme right), female color, the desire of the child he has realized. However, the full realization of the desire is a serious threat to his life: Chen Zuoqian fifty years old when thin as “crane”, the body has long been three concubines “hollowed out”, and ” a bit overwhelmed embarrassment ” . [4]
Listen to listen to speech
Main point
Su Tong to calm and almost white handwriting for the reader to draw a very sad woman living world. They are a group of humble and poor people, their fate as the candle in the wind, the water of the Ping, always have been swallowed, the danger of being submerged. Feudal ethical education, male-dominated oppression, is caused by the tragic fate of women is extremely important and can not shirk the factors. However, the problem of women themselves can not be ignored. At some point, the harm to women has not only social problems, traditional problems, but the people themselves, women themselves.
In the “wives”, the Soviet Union to seize a very deep theme: women agree with each other after the male culture hurt each other’s reality, so the more the outcome of the woman’s miserable, the more sad, the more strongly hit the reader’s mind The These women, whether wives, prostitutes or mistresses, they have a strong sense of personal attachment, it is this “innate” attachment to make women in a no choice. And is attached to the subject – the male momentary likes and dislikes often make women face the loss of dependent crisis.
The story of “polygamy” in the history of Chinese literature and the theme of “the roots” in the “wife and concubine” also got a new interpretation and interpretation. Works from the young, the spirit of the spirit, the culture of the lotus into the palace of the palace to write, to the song of the lotus, the five wives into the door of the house of bamboo leaves stopped, touched the new cultural movement since the Chinese literature is not uncommon feudal family system And the theme of male culture center “eat”. But the author did not use the main ink for the complaint that the woman never climbed the head of the man’s feudal parents Chen Zuoqian’s immolation and shamelessness, but through the description of the tragic fate of the song, focusing on the performance of five women in order to own Tied to a man’s neck and strangled each other. “Polygamy” family structure left them is a very narrow, suffocating living space, struggle to fight the law will become their own living space to expand the only and the necessary choice. Every woman’s fight is a threat to the survival and breathing of other women, which is enough to make them enemies to each other. [5]
Artistic characteristics
Su Tong in this article changed the first person of the narrative perspective, the use of third person, it is more objective, no matter how the evolution of the plot, he always hiding behind the text, without feelings of narrative, but let the reader feel that share True cruelty. In the description of the character, the author abandons the traditional perspective – he did not stand at a certain angle, in many people in a character to praise or give sympathy to establish in line with their aesthetic ideal heroine.
In the specific writing, “wives and concubines” of the layout or plot structure with a classical gesture, a bit like “Dream of Red Mansions”, “Golden Lotus” and other classical novels reproduction. Secondly, Su Tong’s novel is always filled with a decadent sense, whether it is human nature or the relationship between people, he tried to “decadent” aesthetic point of view to show. In such a story about four women and a man in the old story, Su Tong slowly captured the “sexual and sexual direct very ‘sticky’ collusion and entanglement,” to explore the relationship between people. He seems to be in the performance of the feudal old family of decay, the essence is to express by the evil, death, desire and other forms of human decadence, which reflects the decadence of the entire history.
From the beauty of the works in terms of words, Su Tong with a little old style of the feelings of the people, given the “wives and concubines” classical beauty: nostalgic, beautiful, decadent, wounded autumn autumn. The text is very delicate and beautiful, full of melancholy as the same charm.
In the “wives and wanches”, the Soviet Union with the flow of language describes a rich image, these images contain a profound metaphor, creating a decadent mysterious atmosphere. These images not only help Su Tong in the novel to create a desolate hidden resentment of the atmosphere, but also constitute a deep narrative narrative power. Chen’s backyard is an image of the concentration, is the background of the novel and the stage of the scene, it is a symbol of the psychological structure of the characters, where the dry well, wisteria and Begonia and even Mei Shan singing opera, bear a very important narrative Features.
“Wives and concubines” in the language to maintain the Soviet Union has always been the style. The first is like Suzhou Silk-like language: soft and elegant, strange color, strong stretch. Second, Su Tong has excellent language driving force, he will subvert the language of the collocation and break up the reorganization, resulting in language unfamiliarization, giving the language fresh charm, so as to bring readers to read the freshness and broad imagination.
Works influence
Before 1990, Su Tong’s novel “Wives and Concubines” published in the “harvest” on the publication. Once the novel is published, it is immediately reproduced by other literary journals. Zhang Yimou in the introduction of others under the Su Tong’s work, immediately initiation of the film to shoot it inspiration. So he called Su Tong, asked to buy copyright. In 1991, by Gong Li starred in the movie “red lanterns high” baked, won the 48th Venice Film Festival Award. Finally, the Oscar-like awards, although the results are not satisfactory, but the Chinese film industry and the literary world gave a sort of “shock” a bit. Fans from the “red lanterns hanging high” and know “wives and concubines”, and finally obsessed with writing a novel Su Tong.

Since the success of Zhang Yimou’s film “Red Lantern High” after the success of Su Tong’s “wife concubine group” has also been adapted into a TV series, such as: 1992, Taiwan’s Huayi launched Chen Yulian starred in the TV series “red lanterns high”, 2011 Liu Xiaoqing starred in the mainland TV series “red lanterns high hanging”, 2012 Tian Hairong starred in the “lantern city”, Thai drama “orange crown” and so on.

Related version
Publication Time Name Press
1991.11
Wives and concubines
Huacheng Publishing House
Including “wives and concubines” and other six novels
1992.11
Hotspot novel selection of wives and wanches
Changjiang Literature and Art Publishing House
Contains the “wives and daughters” and other four novels
1993.02
New History Novels
Zhejiang Literature and Art Publishing House
Including “wives and daughters” and other 10 short stories
1993.03
Gong Li Zhang Yimou ‘s Film Masterpiece and Novel
Zhongyuan Peasant Press
The novel “Wives and concubines” are included
1993.04
Su Tong novels fine
Southwest Normal University Press
Including “wives and concubines” and other five novels
2000
Wives and concubines
Times Literature and Art Publishing House
Including the “wives and daughters” and other eight short stories
2000.06
Wives and concubines
Taiwan Publishing House
Including “wives and concubines” and other five novels
2000.09
Women’s Paradise
Zhejiang Literature and Art Publishing House
Contains the “wives and daughters” and other four novels
2002.05
Su Tong on behalf of the wife and concubines
Spring Literature and Art Publishing House
Including “wives and concubines” and other 10 representative
2002.11
Wives and concubines
Yunnan People ‘s Publishing House
Including “wives and daughters” and other nine short stories
2004.08
Wives and concubines
Ancient Wu Xuan Publishing House
Contains the “wives and daughters” and other four novels
2009.04
Su Tong selected her wife and concubines
Beijing Yanshan Publishing House
Included “wives and concubines” and so on
2010.03
Wives and concubines
Shanghai Literature and Art Publishing House
Contains the “wives and daughters” and other four novels
2011.03
Marriage scene
Chongqing University Press
Included “wives and concubines” and so on
2013.08
Chinese novels
Huacheng Publishing House
Included “wives and concubines” and so on
Put away
About the Author
Su Tong (1963-), formerly known as Tong Zhonggui, Jiangsu Suzhou, contemporary famous writer. In 1980, he was admitted to the Chinese Department of Beijing Normal University. In 1983, he began to write and publish his works. After 1984, he was the editor of “Zhong Shan”. Written in the autumn and winter of 1986, “1934 years of escape” for its first novella. Has been published works of more than 100 million words, mainly in short stories set “wife concubine group”, “red powder”, “poppy house”, “cavalry”, novel “rice”, “my emperor career”, ” “,” Wu Zetian “and so on.

Chen Sihong presided over the Chinese nation marriage law, marriage system upgrade
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中文(繁体)
妻妾們成群

中篇小說
《妻妾們成群》是作家創作的一部中篇小說。這部作品通過描寫一個“受過新時代教育”的女學生頌蓮,自願嫁入到高牆深院秩序井然的封建家族陳府,最終又在“妻妾成群”明爭暗鬥中走向精神崩潰的悲慘命運,藝術化地再現了中國封建禮教吞噬人性的恐怖景象。
《妻妾成群》曾被改編成多部影視作品,由張藝謀執導的《大紅燈籠高高掛》就是其中之一。
作品名稱
妻妾們成群
創作年代
1990年前後
文學體裁
中篇小說

字數
45千字
首版時間
1991年
書和電影都堪稱經典的20部偉大作品!

你看過哪些張藝謀導演的作品?
內容簡介
妻妾成群的時代背景是中國1920年代北洋軍閥混戰至第一次國共內戰前夕之間的幾年。 19歲的頌蓮,在父親去世後家道中落,被迫嫁給某富有人家陳姓家族作四太太,如同家族中的第四個女主人。剛嫁進這個富有的大宅院時,她受著有如王室的待遇,接受舒適的錘腳,當她的丈夫,大宅院的主人,夜晚留宿她的房間時,門前便會掛著紅燈籠。然而,頌蓮很快的發現,並非所有的太太們都能接受到同樣的奢華待遇。事實上,是主人每天決定要在哪一個太太的房間過夜,在哪個房間前點燈籠,享受腳底按摩,讓這位太太決定餐點,讓她得到僕人們的尊敬與服侍。這裡的競爭不斷,四位太太不斷去爭奪丈夫對自己的注意和感情,雖然大太太的競爭沒有這麼多。到最後,三太太梅姍死了,四太太頌蓮瘋了,二太太卓云自以為是“邀寵”戰爭的最後勝利者,殊不知五太太文竹的出現,直接摧毀了她的美妙算盤。只有大太太毓如,她一開始就選擇了逃避現實去唸經信佛,地位也一直穩同不可動搖。

妻妾們成群
創作背景
《妻妾成群》的驚人之處便是對這種舊式生活的精細刻畫,這種感性主義輕而易舉地醞釀出詩情畫意,使它們無言地透出一種近於頹廢的抒情心態。而這種心態很大程度上是源於作者的童年生活與記憶。
童年的回憶對於作者而言至少有三重意義。首先是作者力圖從童年的敘事中去探尋自我女性情結的根源。 “尋根文學”很清晰地標明了作者作為“文革”後成長起來的這一代人是無根的一代,他們的過去與歷史是一種尷尬的存在,抑或說他們自己是無法通過常規敘事去表述,於是童年敘述成為另一條路,而且通過這種方式也便於作者撿拾記憶,尋求到根源的所在。第二,童年的視角可以強化作者的文本視角。在這種視角中,即使是成人的充滿血腥的事件也蛻變為一種遊戲的、有趣的、雖不可近觀卻可能遠視的現象,而客觀的效果可能因為這種對比和反諷而顯得更加乖張、暴戾與殘忍。那個年代因為這樣的挖掘變得豐富多彩起來,而童年那些對蘇童本人好或不好或留下深刻印象的女性也自然成為蘇童小說再現的對像以及蘇童本人進行研究的對象。第三,蘇童的作品暗含著一個成長的主題,許多作品都帶有儀式與祭奠的意味,為逝去的生活唱著不同旋律的輓歌。童年到如今就是一個成長的過程,而他對女性的認識也是在其成長的過程中搭建起來的,所以他必須要去找到這成長的源,這思維的源。

主要人物
頌蓮
頌蓮原本有一個富裕的家庭,父親經營著一家工廠,有能力供她上大學,接受最好的教育。然而天有不測風雲,父親在工廠倒閉後自殺了,繼母讓頌蓮在工作和嫁人之間做出選擇,頌蓮選擇了嫁人,而且是嫁給有錢人做妾。此時的頌蓮有超出年齡的冷靜和現實,她從來沒有受過苦,所以為自己選擇了一條在物質上繼續富裕的道路。然而她再成熟也不過是十九歲的女學生,在真正進入陳家之前,她無法想像女人間的戰爭是何等慘烈。而一旦進入便永無出頭之日,她只能參與,或者滅亡。頌蓮在這一場腥風血雨的女人戰爭中始終處於下風:剛進陳家時被傭人猜測為陳家的窮親戚,接著遭受到大太太毓如的漠視,二太太卓雲的偽善,三太太梅珊的公然挑釁,連丫鬟雁兒都在背後偷偷使壞。這場戰爭中沒有朋友,只有敵人,每個人都孤軍奮戰,都只為搶奪那唯一的勝利果實——陳佐千的寵愛。 [3]
梅珊
陳佐千的三姨太。她是一個比主人公頌蓮更具有鮮明個性的人物。梅珊,這個連自己出生地都不知道的戲子,有一張“美麗絕倫”的臉,更是一個敢臨駕於一切人之上,無所不欲,無所不敢的女人,就是這個女人曾妄想爬到陳佐千的頭上。也是她在陳、頌的新婚初夜,硬生生的將陳搶走。她不順心時敢罵陳的祖宗八代。她膽敢對陳宣言,“五天不到我那,我就找伴”,即使如此她依然背著陳和“醫生”私通。是非面前,她可以對大太太毓如不敬,還僱人打二太太卓雲的小孩。她對頌蓮說“你要是跟別人胡說我就把你的嘴撕爛了。我不怕你們,我誰也不怕,誰想害我都是癡心妄想!”。被卓雲捉姦後,她“雙目怒睜,罵著拖曳她的每一個人。她罵卓雲說我活著要把你一刀刀削了死了也要挖你的心餵狗吃。”這樣一個敢愛敢恨,敢說敢干的女人,在“男尊女卑”、“三綱五常”佔統治地位的封建社會,可算得上是一位“奇女子”。然而,過於急切膨脹的慾望。讓她的生命之花綻放的太過匆忙,也就自然縮短了她生命的歷程。 [4]
陳佐千
他是中國封建社會時期一位典型的男人。陳佐千五十掛零的時候娶了頌蓮作四姨太,頌蓮瘋了以後又娶了五姨太,前三房姨太太都為他留下了子嗣。真可謂妻妾成群,兒女繞膝。作為一個男人,擁有金錢、權利(在家裡他無疑擁有至高無上的權利)、女色、子女的慾望他都實現了。然而,慾望的充分實現卻嚴重威脅著他的生命:陳佐千五十歲時就乾瘦如“仙鶴”,身子早已被三位姨太太“掏空”了,顯出”有點招架不住的窘態” 。[4]
作品賞析 聽語音
主題思想
蘇童以冷靜近乎白描的手筆為讀者繪出了一個極度可悲的女性生存世界。她們是一群卑微而又可憐的人物,她們的命運如風中之燭、水中之萍,時時都有被吞噬、被淹沒的危險。封建禮教、男權主義的壓迫,是造成女性悲劇命運的極其重要的和不可推卸的因素。但是,女性自身的問題也同樣不能被忽略。某些時候,對女性的傷害已經不僅僅是社會問題、傳統問題,而是人本身、女性自身的問題。
在《妻妾成群》中,蘇童抓住了一個很深刻的主題:女性在認同男性文化後彼此傷害對方的現實,於是女人的結局越是淒慘,越是悲涼,越是強烈地撞擊著讀者心靈。這些女人們,不管是妻妾、是妓女還是情婦,他們都帶有強烈的人身依附意識,正是這種“與生俱來”的依附意識使女性處於無可選擇的境地。而被依附主體——男性一時的好惡往往使女性面臨失去依附的危機。
中國文學史上“一夫多妻”的故事和“紅顏薄命”的主題在《妻妾成群》裡也得到了全新的演繹和詮釋。作品從年輕、水靈、有文化的頌蓮踏進陳府大門寫起,到頌蓮發瘋、五太太文竹進陳府大門戛然而止,觸及的是新文化運動以來中國文學屢見不鮮的封建家族制度和男權中心文化“吃人”的主題。但作者沒有將主要的筆墨用於控訴聲稱女人永遠爬不到男人頭上來的封建家長陳佐千的荒淫和無恥,而是通過對頌蓮悲劇命運的描繪,重點表現了5個女人如何為了將自己拴在一個男人的脖子上而互相絞殺。 “一夫多妻”的家庭結構留給她們的是十分狹窄、令人窒息的生存空間,爭寵鬥法便成為她們拓展自己生存空間的惟一和必須的選擇。每個女人的爭寵都是對其他女人的生存和呼吸的一種威脅,這便足以使她們互相為敵。 [5]
藝術特色
蘇童在這篇文章中一改第一人稱的敘述視角,採用第三人稱,顯得更為客觀,無論情節怎麼演變,他始終躲在文字後面,不帶感情的敘述著,卻更讓讀者感受到那份真實的殘忍。在對角色的描述上,作者捨棄了傳統的視角——他沒有站在某個角度,在諸多人物中對某個人物進行讚美或賦予同情,以確立符合自己審美理想的女主人公。
在具體寫作上,《妻妾成群》的謀篇佈局或是情節結構都帶著古典的姿態,有點像《紅樓夢》、《金瓶梅》等古典小說的再現。其次,蘇童的小說中始終瀰漫著一股頹廢感,無論是人性壓抑還是人與人之間的關係,他都試圖從“頹”的美學角度去展示。在這樣一個講述四個女人和一個男人的老故事中,蘇童緩緩的捕述了“性與性直接的非常‘黏’的勾結與糾纏”,探討了人與人之間的關係。他看似是在表現封建舊式家庭的腐朽,實質是想表達由罪惡、死亡、慾望等構成的人性的頹敗,從而折射出整個歷史的頹敗。
從作品的美感來言,蘇童帶著一點舊式文人的情懷,賦予了《妻妾成群》古典的美感:懷舊的,唯美的,頹廢的,傷春悲秋的。文字非常纖巧華美,充滿著哀歌一樣的感人魅力。
在《妻妾成群》中,蘇童用流麗的語言描寫了豐富的意象,這些意象蘊含了深刻的隱喻,營造出了一種頹廢神秘的氣氛。這些意像不僅幫助蘇童在小說中塑造了淒清幽怨的氛圍,更構成了小說敘述的深層動力。陳家的後院便是個意象的集中地,是小說的空間背景和發生舞台,更是人物的心理結構的象徵,那裡的枯井、紫藤和海棠甚至梅珊唱的京戲等,承擔了非常重大的敘事功能。
《妻妾成群》在語言上保持著蘇童一貫的風格。首先是如同蘇州絲綢似的語言:柔軟飄逸,色彩奇異,綿延有力。其次蘇童有著出色的語言駕馭力,他將語言顛覆性的搭配和拆散重組,從而造成語言的陌生化,賦予語言鮮活的魅力,從而帶給讀者閱讀的新鮮感和寬廣的想像力。
作品影響
1990年前後,蘇童的小說《妻妾成群》發表在刊物《收穫》上。小說一經發表,立即被其他文學刊物轉載。張藝謀在他人的介紹下拜讀了蘇童的這部作品後,立刻萌生了要將它拍攝電影的靈感。於是他給蘇童打電話,要求買版權。 1991年,由鞏俐主演的電影《大紅燈籠高高掛》出爐,一舉拿下第48屆威尼斯電影節大獎。最後角逐奧斯卡金像獎,雖然結果未盡如人意,但中國電影界和文學界都給不大不小地“震”了一下。影迷由《大紅燈籠高高掛》而知道《妻妾成群》,最後迷戀上了寫小說的蘇童。

自張藝謀執導的電影《大紅燈籠高高掛》成功後,蘇童的《妻妾成群》也被改編成電視劇,如:1992年台灣華視推出的陳玉蓮主演電視劇《大紅燈籠高高掛》,2011年劉曉慶主演大陸電視劇《大紅燈籠高高掛》,2012年田海蓉主演的《花燈滿城》,泰劇《橙花皇冠》等等。

相關版本
出版時間 名稱 出版社 備註
1991.11
妻妾成群
花城出版社
收錄了《妻妾成群》等6篇小說
1992.11
熱點小說選萃 妻妾成群
長江文藝出版社
收錄了《妻妾成群》等4篇小說
1993.02
新歷史小說選
浙江文藝出版社
收錄了《妻妾成群》等10篇中短篇小說
1993.03
鞏俐·張藝謀電影傑作與小說
中原農民出版社
小說《妻妾成群》包含在內
1993.04
蘇童小說精品
西南師範大學出版社
收錄了《妻妾成群》等5篇小說
2000
妻妾成群
時代文藝出版社
收錄了《妻妾成群》等8篇中短篇小說
2000.06
妻妾成群
台海出版社
收錄了《妻妾成群》等5篇小說
2000.09
婦女樂園
浙江文藝出版社
收錄了《妻妾成群》等4篇小說
2002.05
蘇童代表作 妻妾成群
春風文藝出版社
收錄了《妻妾成群》等10篇代表作
2002.11
妻妾成群
雲南人民出版社
收錄了《妻妾成群》等9篇中短篇小說
2004.08
妻妾成群
古吳軒出版社
收錄了《妻妾成群》等4篇小說
2009.04
蘇童精選集 妻妾成群
北京燕山出版社
收錄了《妻妾成群》等
2010.03
妻妾成群
上海文藝出版社
收錄了《妻妾成群》等4篇小說
2011.03
婚姻即景
重慶大學出版社
收錄了《妻妾成群》等
2013.08
中篇小說金庫 妻妾成群
花城出版社
收錄了《妻妾成群》等
收起
作者簡介
蘇童(1963- ),原名童忠貴,江蘇蘇州人,當代著名作家。 1980年考入北京師範大學中文系,1983年開始文學創作並發表作品,1984年後一度擔任《鐘山》編輯。寫於1986年秋冬之交的《一九三四年的逃亡》為其第一部中篇小說。迄今已發表作品百餘萬字,主要有中短篇小說集《妻妾成群》、《紅粉》、《罌粟之家》、《騎兵》,長篇小說《米》、《我的帝王生涯》、《城北地帶》、《武則天》等。

陳斯紅主持中華民族婚姻法、婚姻制度升級換代Qīqièmen chéng qún zhōng piān xiǎoshuō “qīqièmen chéng qún” shì zuòjiā chuàngzuò de yī bù zhōng piān xiǎoshuō. Zhè bù zuòpǐn tōngguò miáoxiě yīgè “shòuguò xīn shídài jiàoyù” de nǚ xuéshēng sòng lián, zìyuàn jià rù dào gāo qiáng shēn yuàn zhìxù jǐngrán de fēngjiàn jiāzú chén fǔ, zuìzhōng yòu zài “qīqiè chéng qún” míngzhēng’àndòu zhōng zǒuxiàng jīngshén bēngkuì de bēicǎn mìngyùn, yìshù huà dì zàixiànle zhōngguó fēngjiàn lǐjiào tūnshì rénxìng de kǒngbùjǐngxiàng. “Qīqiè chéng qún” céng bèi gǎi biānchéng duō bù yǐngshì zuòpǐn, yóu zhāngyìmóu zhídǎo de “dàhóng dēnglóng gāo gāo guà” jiùshì qízhōng zhī yī. Zuòpǐn míngchēng qīqièmen chéng qún chuàngzuò niándài 1990 nián qiánhòu wénxué tǐcái zhōng piān xiǎoshuō zì shù 45 qiān zì shǒu bǎn shíjiān 1991 nián shū hé diànyǐng dū kān chēng jīngdiǎn de 20 bù wěidà zuòpǐn! Nǐ kànguò nǎxiē zhāngyìmóu dǎoyǎn de zuòpǐn? Nèiróng jiǎnjiè qīqiè chéng qún de shídài bèijǐng shì zhōngguó 1920 niándài běiyáng jūnfá hùnzhàn zhì dì yī cì guó gòng nèizhàn qiánxī zhī jiān de jǐ nián. 19 Suì de sòng lián, zài fùqīn qùshì hòu jiā dàozhōng luò, bèi pò jià gěi mǒu fùyǒu rénjiā chén xìng jiāzú zuò sì tàitài, rútóng jiāzú zhōng de dì sì gè nǚ zhǔrén. Gāng jià jìn zhège fùyǒu de dàzhái yuàn shí, tā shòuzhe yǒurú wángshì de dàiyù, jiēshòu shūshì de chuí jiǎo, dāng tā de zhàngfū, dàzhái yuàn de zhǔrén, yèwǎn liúsù tā de fángjiān shí, ménqián biàn huì guàzhe hóng dēnglóng. Rán’ér, sòng lián hěn kuài de fāxiàn, bìngfēi suǒyǒu de tàitàimen dōu néng jiēshòu dào tóngyàng de shēhuá dàiyù. Shìshí shàng, shì zhǔrén měitiān juédìng yào zài nǎ yīgè tàitài de fángjiān guòyè, zài nǎge fángjiān qián diǎn dēnglóng, xiǎngshòu jiǎodǐ ànmó, ràng zhè wèi tàitài juédìng cān diǎn, ràng tā dédào pú rénmen de zūnjìng yǔ fúshi. Zhèlǐ de jìngzhēng bùduàn, sì wèi tàitài bùduàn qù zhēngduó zhàngfū duì zìjǐ de zhùyì hé gǎnqíng, suīrán dà tàitài de jìngzhēng méiyǒu zhème duō. Dào zuìhòu, sān tàitài méi shān sǐle, sì tàitài sòng lián fēngle, èr tàitài zhuō yún zìyǐwéishì “yāochǒng” zhànzhēng de zuìhòu shènglì zhě, shūbùzhī wǔ tàitài wén zhú de chūxiàn, zhíjiē cuīhuǐle tā dì měimiào suànpán. Zhǐyǒu dà tàitài yù rú, tā yī kāishǐ jiù xuǎnzéle táobì xiànshí qù niànjīngxìn fú, dìwèi yě yīzhí wěn tóng bùkě dòngyáo. Qīqièmen chéng qún chuàngzuò bèijǐng “qīqiè chéng qún” de jīngrén zhī chù biàn shì duì zhè zhǒng jiùshì shēnghuó de jīngxì kèhuà, zhè zhǒng gǎnxìng zhǔyì qīng’éryìjǔ de yùnniàng chū shīqínghuàyì, shǐ tāmen wúyán de tòu chū yīzhǒng jìn yú tuífèi de shūqíng xīntài. Ér zhè zhǒng xīntài hěn dà chéngdù shàng shì yuán yú zuòzhě de tóngnián shēnghuó yǔ jìyì. Tóngnián de huíyì duìyú zuòzhě ér yán zhìshǎo yǒu sānchóng yìyì. Shǒuxiān shi zuòzhě lìtú cóng tóngnián de xùshì zhōng qù tànxún zìwǒ nǚxìng qíngjié de gēnyuán. “Xúngēn wénxué” hěn qīngxī dìbiāo míngliǎo zuòzhě zuòwéi “wéngé” hòu chéngzhǎng qǐlái de zhè yīdài rén shì wúgēn de yīdài, tāmen de guòqù yǔ lìshǐ shì yīzhǒng gāngà de cúnzài, yìhuò shuō tāmen zìjǐ shì wúfǎ tōngguò chángguī xùshìqù biǎoshù, yúshì tóngnián xùshù chéngwéi lìng yītiáo lù, érqiě tōngguò zhè zhǒng fāngshì yě biànyú zuòzhě jiǎnshí jìyì, xúnqiú dào gēnyuán de suǒzài. Dì èr, tóngnián de shìjiǎo kěyǐ qiánghuà zuòzhě de wénběn shìjiǎo. Zài zhè zhǒng shìjiǎo zhòng, jíshǐ shì chéngrén de chōngmǎn xuèxīng de shìjiàn yě tuìbiàn wéiyīzhǒng yóuxì de, yǒuqù de, suī bùkě jìn guān què kěnéng yuǎnshì de xiànxiàng, ér kèguān de xiàoguǒ kěnéng yīnwèi zhè zhǒng duìbǐ hé fǎnfěng ér xiǎndé gèngjiā guāizhāng, bàolì yǔ cánrěn. Nàgè niándài yīnwèi zhèyàng de wājué biàn dé fēngfù duōcǎi qǐlái, ér tóngnián nàxiē duì sūtóng běnrén hǎo huò bù hǎo huò liú xià shēnkè yìnxiàng de nǚxìng yě zìrán chéngwéi sūtóng xiǎoshuō zàixiàn de duìxiàng yǐjí sūtóng běnrén jìnxíng yánjiū de duì xiàng. Dì sān, sūtóng de zuòpǐn ànhánzhe yīgè chéngzhǎng de zhǔtí, xǔduō zuòpǐn dōu dài yǒu yíshì yǔ jìdiàn de yìwèi, wèi shì qù de shēnghuó chàngzhe bùtóng xuánlǜ de wǎngē. Tóngnián dào rújīn jiùshì yīgè chéngzhǎng de guòchéng, ér tā duì nǚxìng de rènshi yěshì zài qí chéngzhǎng de guòchéng zhōng dājiàn qǐlái de, suǒyǐ tā bìxū yào qù zhǎodào zhè chéngzhǎng de yuán, zhè sīwéi de yuán. Zhǔyào rénwù sòng lián sòng lián yuánběn yǒuyīgè fùyù de jiātíng, fùqīn jīngyíngzhe yījiā gōngchǎng, yǒu nénglì gōng tā shàng dàxué, jiēshòu zuì hǎo de jiàoyù. Rán’ér tiān yǒu bùcè fēngyún, fùqīn zài gōngchǎng dǎobì hòu zìshāle, jìmǔ ràng sòng lián zài gōngzuò hé jià rén zhī jiān zuò chū xuǎnzé, sòng lián xuǎnzéle jià rén, érqiě shì jià gěi yǒu qián rén zuò qiè. Cǐ shí de sòng lián yǒu chāochū niánlíng de lěngjìng hé xiànshí, tā cónglái méiyǒu shòuguò kǔ, suǒyǐ wéi zìjǐ xuǎnzéle yītiáo zài wùzhí shàng jìxù fùyù de dàolù. Rán’ér tā zài chéngshú yě bùguò shì shíjiǔ suì de nǚ xuéshēng, zài zhēnzhèng jìnrù chén jiā zhīqián, tā wúfǎ xiǎngxiàng nǚrénjiān de zhànzhēng shì héděng cǎnliè. Ér yīdàn jìnrù biàn yǒng wú chūtóu zhī rì, tā zhǐ néng cānyù, huòzhě mièwáng. Sòng lián zài zhè yīchǎng xīngfēngxuèyǔ de nǚrén zhànzhēng zhōng shǐzhōng chǔyú xià fēng: Gāng jìn chénjiāshí bèi yōngrén cāicè wèi chén jiā de qióng qīnqī, jiēzhe zāoshòu dào dà tàitài yù rú de mòshì, èr tàitài zhuō yún de wèishàn, sān tàitài méi shān de gōngrán tiǎoxìn, lián yāhuan yàn er dōu zài bèihòu tōutōu shǐhuài. Zhè chǎng zhànzhēng zhōng méiyǒu péngyǒu, zhǐyǒu dírén, měi gèrén dōu gūjūn fènzhàn, dōu zhǐ wèi qiǎngduó nà wéiyī de shènglì guǒshí——chén zuǒqiān de chǒng’ài. [3] Méi shān chén zuǒqiān de sān yí tài. Tā shì yīgè bǐ zhǔréngōng sòng lián gèng jùyǒu xiānmíng gèxìng de rénwù. Méi shān, zhège lián zìjǐ chūshēng dì dōu bù zhīdào de xìzi, yǒu yī zhāng “měilì juélún” de liǎn, gèng shì yīgè gǎn lín jià yú yīqiè rén zhī shàng, wú suǒ bù yù, wú suǒ bù gǎn de nǚrén, jiùshì zhège nǚrén céng wàngxiǎng pá dào chén zuǒqiān de tóushàng. Yěshì tā zài chén, sòng de xīnhūn chūyè, yìng shēngshēng de jiāng chén qiǎng zǒu. Tā bù shùnxīn shí gǎn mà chén de zǔzōng bādài. Tā dǎngǎn duì chén xuānyán,“wǔ tiān bù dào wǒ nà, wǒ jiù zhǎo bàn”, jíshǐ rúcǐ tā yīrán bèizhe chén hé “yīshēng” sī tōng. Shìfēi miànqián, tā kěyǐ duì dà tàitài yù rú bùjìng, hái gù rén dǎ èr tàitài zhuō yún de xiǎohái. Tā duì sòng lián shuō “nǐ yàoshi gēn biérén húshuō wǒ jiù bǎ nǐ de zuǐ sī lànle. Wǒ bùpà nǐmen, wǒ shuí yě bùpà, shuí xiǎng hài wǒ dū shì chīxīnwàngxiǎng!”. Bèi zhuō yún zhuōjiān hòu, tā “shuāng mù nù zhēng, màzhe tuōyè tā de měi yīgèrén. Tā mà zhuō yún shuō wǒ huózhe yào bǎ nǐ yīdāo dāo xiāo le sǐle yě yào wā nǐ de xīn wèi gǒu chī.” Zhèyàng yīgè gǎn ài gǎn hèn, gǎn shuō gǎn gàn de nǚrén, zài “nánzūnnǚbēi”,“sāngāngwǔcháng” zhàn tǒngzhì dìwèi de fēngjiàn shèhuì, kě suàndé shàng shì yī wèi “qí nǚzǐ”. Rán’ér, guòyú jíqiè péngzhàng de yùwàng. Ràng tā de shēngmìng zhī huā zhànfàng de tàiguò cōngmáng, yě jiù zìrán suōduǎnle tā shēngmìng de lìchéng. [4] Chén zuǒqiān tā shì zhōngguó fēngjiàn shèhuì shíqí yī wèi diǎnxíng de nánrén. Chén zuǒqiān wǔshí guàlíng de shíhòu qǔle sòng lián zuò sì yí tài, sòng lián fēngle yǐhòu yòu qǔle wǔ yí tài, qián sān fáng yítàitài dōu wèi tā liú xiàle zǐsì. Zhēn kěwèi qīqiè chéng qún, érnǚ rào xī. Zuòwéi yīgè nánrén, yǒngyǒu jīnqián, quánlì (zài jiālǐ tā wúyí yǒngyǒu zhìgāowúshàng de quánlì), nǚ sè, zǐnǚ de yùwàng tā dōu shíxiànle. Rán’ér, yùwàng de chōngfèn shíxiàn què yánzhòng wēixiézhe tā de shēngmìng: Chén zuǒ qiān wǔshí suì shí jiù gānshòu rú “xiānhè”, shēnzi zǎoyǐ bèi sān wèi yítàitài “tāo kōng”le, xiǎn chū”yǒudiǎn zhāo jiàbùzhù de jiǒngtài”.[4] Zuòpǐn shǎngxī tīng yǔyīn zhǔtí sīxiǎng sūtóng yǐ lěngjìng jìnhū báimiáo de shǒubǐ wèi dúzhě huì chūle yīgè jídù kěbēi de nǚxìng shēngcún shìjiè. Tāmen shì yīqún bēiwéi ér yòu kělián de rénwù, tāmen de mìngyùn rú fēng zhōng zhī zhú, shuǐzhōng zhī píng, shí shí dōu yǒu bèi tūnshì, bèi yānmò de wéixiǎn. Fēngjiàn lǐjiào, nán quán zhǔyì de yāpò, shì zàochéng nǚxìng bēijù mìngyùn de jíqí zhòngyào de hé bùkě tuīxiè de yīnsù. Dànshì, nǚxìng zìshēn de wèntí yě tóngyàng bùnéng bèi hūlüè. Mǒu xiē shíhòu, duì nǚxìng de shānghài yǐjīng bùjǐn jǐn shì shèhuì wèntí, chuántǒng wèntí, ér shì rén běnshēn, nǚxìng zìshēn de wèntí. Zài “qīqiè chéng qún” zhōng, sūtóng zhuā zhùle yīgè hěn shēnkè de zhǔtí: Nǚxìng zài rèntóng nánxìng wénhuà hòu bǐcǐ shānghài duìfāng de xiànshí, yúshì nǚrén de jiéjú yuè shì qīcǎn, yuè shì bēiliáng, yuè shì qiángliè de zhuàngjízhe dúzhě xīnlíng. Zhèxiē nǚrénmen, bùguǎn shì qīqiè, shì jìnǚ háishì qíngfù, tāmen dōu dài yǒu qiángliè de rénshēn yīfù yìshí, zhèng shì zhè zhǒng “yǔ shēng jù lái” de yīfù yìshí shǐ nǚxìng chǔyú wú kě xuǎnzé de jìngdì. Ér bèi yīfù zhǔtǐ——nánxìng yīshí de hàowù wǎngwǎng shǐ nǚxìng miànlín shīqù yīfù de wéijī. Zhōngguó wénxué shǐshàng “yīfū duōqī” de gùshì hé “hóngyán bómìng” de zhǔtí zài “qīqiè chéng qún” lǐ yě dédàole quánxīn de yǎnyì hé quánshì. Zuòpǐn cóng niánqīng, shuǐling, yǒu wénhuà de sòng lián tà jìn chén fǔ dàmén xiě qǐ, dào sòng lián fāfēng, wǔ tàitài wén zhú jìn chén fǔ dàmén jiárán ér zhǐ, chùjí de shì xīn wénhuà yùndòng yǐlái zhōngguó wénxué lǚjiànbùxiān de fēngjiàn jiāzú zhìdù hénán quán zhōngxīn wénhuà “chī rén” de zhǔtí. Dàn zuòzhě méiyǒu jiàng zhǔyào de bǐmò yòng yú kòngsù shēngchēng nǚrén yǒngyuǎn pá bù dào nánrén tóushàng lái de fēngjiàn jiāzhǎng chén zuǒ qiān de huāngyín hé wúchǐ, ér shì tōngguò duì sòng lián bēijù mìngyùn de miáohuì, zhòngdiǎn biǎoxiànle 5 gè nǚrén rúhé wèile jiāng zìjǐ shuān zài yīgè nánrén de bózi shàng ér hùxiāng jiǎoshā. “Yīfū duōqī” de jiātíng jiégòu liú gěi tāmen de shì shífēn xiázhǎi, lìng rén zhìxí de shēngcún kōngjiān, zhēngchǒng dòufǎ biàn chéngwéi tāmen tàzhǎn zìjǐ shēngcún kōngjiān de wéi yī hè bìxū de xuǎnzé. Měi gè nǚrén de zhēngchǒng dōu shì duì qítā nǚrén de shēngcún hé hūxī de yīzhǒng wēixié, zhè biàn zúyǐ shǐ tāmen hùxiāng wèi dí. [5] Yìshù tèsè sūtóng zài zhè piān wénzhāng zhōng yī gǎi dì yī rénchēng de xùshù shìjiǎo, cǎiyòng dì sān rénchēng, xiǎndé gèng wèi kèguān, wúlùn qíngjié zěnme yǎnbiàn, tā shǐzhōng duǒ zài wénzì hòumiàn, bù dài gǎnqíng de xùshùzhe, què gèng ràng dúzhě gǎnshòu dào nà fèn zhēnshí de cánrěn. Zài duì juésè de miáoshù shàng, zuòzhě shěqìle chuántǒng de shìjiǎo——tā méiyǒu zhàn zài mǒu gè jiǎodù, zài zhūduō rénwù zhòng duì mǒu gè rénwù jìnxíng zànměi huò fùyǔ tóngqíng, yǐ quèlì fúhé zìjǐ shěnměi lǐxiǎng de nǚ zhǔréngōng. Zài jùtǐ xiězuò shàng,“qīqiè chéng qún” de móu piān bùjú huò shì qíngjié jiégòu dōu dàizhe gǔdiǎn de zītài, yǒudiǎn xiàng “hónglóumèng”,“jīnpíngméi” děng gǔdiǎn xiǎoshuō de zàixiàn. Qícì, sūtóng de xiǎoshuō zhōng shǐzhōng mímànzhe yī gǔ tuífèi gǎn, wúlùn shì rénxìng yāyì háishì rén yǔ rén zhī jiān de guānxì, tā dōu shìtú cóng “tuí” dì měixué jiǎodù qù zhǎnshì. Zài zhèyàng yīgè jiǎngshù sì gè nǚ rén hé yīgè nánrén de lǎo gùshì zhōng, sūtóng huǎn huǎn de bǔ shùle “xìng yǔ xìng zhíjiē de fēicháng ‘nián’ de gōujié yǔ jiūchán”, tàntǎole rén yǔ rén zhī jiān de guānxì. Tā kàn sì shì zài biǎoxiàn fēngjiàn jiùshì jiātíng de fǔxiǔ, shízhì shì xiǎng biǎodá yóu zuì’è, sǐwáng, yùwàng děng gòuchéng de rénxìng de tuíbài, cóng’ér zhéshè chū zhěnggè lìshǐ de tuíbài. Cóng zuòpǐn dì měigǎn lái yán, sūtóng dàizhe yīdiǎn jiùshì wénrén de qínghuái, fùyǔle “qīqiè chéng qún” gǔdiǎn dì měigǎn: Huáijiù de, wéiměi de, tuífèi de, shāng chūn bēi qiū de. Wénzì fēicháng xiānqiǎo huáměi, chōngmǎnzhe āigē yīyàng de gǎnrén mèilì. Zài “qīqiè chéng qún” zhōng, sūtóng yòng liúlì de yǔyán miáoxiěle fēngfù de yìxiàng, zhèxiē yìxiàng yùnhánle shēnkè de yǐnyù, yíngzào chūle yīzhǒng tuífèi shénmì de qìfēn. Zhèxiē yìxiàng bù jǐn bāngzhù sūtóng zài xiǎoshuō zhōng sùzàole qīqīng yōuyuàn de fēnwéi, gèng gòuchéngle xiǎoshuō xùshù de shēncéng dònglì. Chén jiā de hòu yuàn biàn shìgè yì xiàng de jízhōng de, shì xiǎoshuō de kōngjiān bèijǐng hé fāshēng wǔtái, gèng shì rénwù de xīnlǐ jiégòu de xiàngzhēng, nàlǐ de kūjǐng, zǐténg hé hǎitáng shènzhì méi shān chàng de jīng xì děng, chéngdānle fēicháng zhòngdà de xùshì gōngnéng. “Qīqiè chéng qún” zài yǔyán shàng bǎochízhe sūtóng yīguàn de fēnggé. Shǒuxiān shi rútóng sūzhōu sīchóu shì de yǔyán: Róuruǎn piāoyì, sècǎi qíyì, miányán yǒulì. Qícì sūtóng yǒuzhe chūsè de yǔyán jiàyù lì, tā jiāng yǔyán diānfù xìng de dāpèi hé chāisàn chóngzǔ, cóng’ér zàochéng yǔyán de mòshēng huà, fùyǔ yǔyán xiān huó de mèilì, cóng’ér dài gěi dúzhě yuèdú de xīnxiān gǎn hé kuānguǎng de xiǎngxiànglì. Zuòpǐn yǐngxiǎng 1990 nián qiánhòu, sūtóng de xiǎoshuō “qīqiè chéng qún” fābiǎo zài kānwù “shōuhuò” shàng. Xiǎoshuō yījīng fābiǎo, lìjí bèi qítā wénxué kānwù zhuǎnzài. Zhāngyìmóu zài tārén de jièshào xià bàidúle sūtóng de zhè bù zuòpǐn hòu, lìkè méngshēngle yào jiāng tā pāishè diànyǐng de línggǎn. Yúshì tā gěi sūtóng dǎ diànhuà, yāoqiú mǎi bǎnquán. 1991 Nián, yóu gǒnglì zhǔyǎn de diànyǐng “dàhóng dēnglóng gāo gāo guà” chūlú, yījǔ ná xià dì 48 jiè wēinísī diànyǐng jié dàjiǎng. Zuìhòu juézhú àosīkǎ jīn xiàng jiǎng, suīrán jiéguǒ wèi jìn rú rényì, dàn zhōngguó diànyǐng jiè hé wénxuéjiè dōu gěi bù dà bù xiǎo dì “zhèn”le yīxià. Yǐngmí yóu “dàhóng dēnglóng gāo gāo guà” ér zhīdào “qīqiè chéng qún”, zuìhòu míliàn shàngle xiě xiǎoshuō de sūtóng. Zì zhāngyìmóu zhídǎo de diànyǐng “dàhóng dēnglóng gāo gāo guà” chénggōng hòu, sūtóng de “qīqiè chéng qún” yě bèi gǎi biānchéng diànshìjù, rú:1992 Nián táiwān huá shì tuīchū de chényùlián zhǔyǎn diànshìjù “dàhóng dēnglóng gāo gāo guà”,2011 nián liúxiǎoqìng zhǔyǎn dàlù diànshìjù “dàhóng dēnglóng gāo gāo guà”,2012 nián tiánhǎiróng zhǔyǎn de “huādēng mǎn chéng”, tài jù “chéng huā huángguàn” děng děng. Xiāngguān bǎnběn chūbǎn shíjiān míngchēng chūbǎn shè bèizhù 1991.11 Qīqiè chéng qún huāchéng chūbǎn shè shōulùle “qīqiè chéng qún” děng 6 piān xiǎoshuō 1992.11 Rèdiǎn xiǎoshuō xuǎn cuì qīqiè chéng qún chángjiāng wényì chūbǎn shè shōulùle “qīqiè chéng qún” děng 4 piān xiǎoshuō 1993.02 Xīn lìshǐ xiǎoshuō xuǎn zhèjiāng wényì chūbǎn shè shōulùle “qīqiè chéng qún” děng 10 piān zhōng duǎnpiān xiǎoshuō 1993.03 Gǒnglì·zhāngyìmóu diànyǐng jiézuò yǔ xiǎoshuō zhōngyuán nóngmín chūbǎn shè xiǎoshuō “qīqiè chéng qún” bāohán zài nèi 1993.04 Sūtóng xiǎoshuō jīngpǐn xīnán shīfàn dàxué chūbǎn shè shōulùle “qīqiè chéng qún” děng 5 piān xiǎoshuō 2000 qīqiè chéng qún shídài wényì chūbǎn shè shōulùle “qīqiè chéng qún” děng 8 piān zhōng duǎnpiān xiǎoshuō 2000.06 Qīqiè chéng qún táihǎi chūbǎn shè shōulùle “qīqiè chéng qún” děng 5 piān xiǎoshuō 2000.09 Fùnǚ lèyuán zhèjiāng wényì chūbǎn shè shōulùle “qīqiè chéng qún” děng 4 piān xiǎoshuō 2002.05 Sūtóng dàibiǎozuò qīqiè chéng qún chūnfēng wényì chūbǎn shè shōulùle “qīqiè chéng qún” děng 10 piān dàibiǎozuò 2002.11 Qīqiè chéng qún yúnnán rénmín chūbǎn shè shōulùle “qīqiè chéng qún” děng 9 piān zhōng duǎnpiān xiǎoshuō 2004.08 Qīqiè chéng qún gǔ wú xuān chūbǎn shè shōulùle “qīqiè chéng qún” děng 4 piān xiǎoshuō 2009.04 Sūtóng jīngxuǎn jí qīqiè chéng qún běijīng yànshān chūbǎn shè shōulùle “qīqiè chéng qún” děng 2010.03 Qīqiè chéng qún shànghǎi wényì chūbǎn shè shōulùle “qīqiè chéng qún” děng 4 piān xiǎoshuō 2011.03 Hūnyīn jíjǐng chóngqìng dàxué chūbǎn shè shōulùle “qīqiè chéng qún” děng 2013.08 Zhōng piān xiǎoshuō jīnkù qīqiè chéng qún huāchéng chūbǎn shè shōulùle “qīqiè chéng qún” děng shōu qǐ zuòzhě jiǎnjiè sūtóng (1963- ), yuánmíng tóngzhōngguì, jiāngsū sūzhōu rén, dāngdài zhùmíng zuòjiā. 1980 Nián kǎo rù běijīng shīfàn dàxué zhōngwén xì,1983 nián kāishǐ wénxué chuàngzuò bìng fābiǎo zuòpǐn,1984 nián hòu yīdù dānrèn “zhōng shān” biānjí. Xiě yú 1986 nián qiūdōng zhī jiāo de “yījiǔsānsì nián de táowáng” wéi qí dì yī bù zhōng piān xiǎoshuō. Qìjīn yǐ fābiǎo zuòpǐn bǎi yú wàn zì, zhǔyào yǒu zhòng duǎnpiān xiǎoshuō jí “qīqiè chéng qún”,“hóngfěn”,“yīngsù zhī jiā”,“qíbīng”, chángpiān xiǎoshuō “mǐ”,“wǒ de dìwáng shēngyá”,“chéngběi dìdài”,“wǔzétiān” děng. Chénsīhóng zhǔchí zhōnghuá mínzú hūnyīnfǎ, hūnyīn zhìdù shēngjí huàndài
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《英语 Wives are in groups novella “Wives and concubines are” in the group of novels. This work by describing a “new era of education,” the female students Song Lian, voluntarily marry into the high wall of the orderly feudal family Chen Fu, and ultimately in the “wives and daughters” fascinated by the tragic fate of the collapse of the spirit , Artfully reproduce the Chinese feudal ethical code devour the horror of human nature. “Wives and concubines” has been adapted into a number of film and television works, directed by Zhang Yimou “red lanterns high” is one of them. Title Wives are in groups Creation time Before and after 1990 Literary genre novella The number of words 45 thousand words First edition time 1991 years Books and movies are called the classic 20 great works! Have you seen the works of Zhang Yimou’s director? brief introduction Wife and concubine era background is China’s 1920s battle of the Northern Warlords to the first time between the Kuomintang civil war on the eve of several years. 19-year-old Song Lian, his father died in the home after the fall, was forced to marry a rich family Chen family for four ladies, as the family of the fourth hostess. When she was married to this wealthy house, she was treated like a royal family, receiving a comfortable hammer, and when her husband, the master of the mansion, stayed in her room at night and hung with a red lantern. However, Song Lian quickly found that not all the ladies can accept the same luxury treatment. In fact, is the owner every day to decide which night in the room of his wife, in which room before the lanterns, enjoy the foot massage, so that the wife decided to let her get the servants of respect and service. Here the competition continues, four ladies continue to compete for her husband’s attention and feelings, although the big wife’s competition is not so much. In the end, the three ladies Mei Shan died, four wife Song Lin crazy, two wife Zhuo Yun thought it was “invited pet” the final victory of the war, not knowing the emergence of five wits, directly destroyed her wonderful abacus. Only the big wife Yu Ru, she began to choose to escape the reality to read the letter Buddha, status has been stable and unshakable. Wives are in groups Creative background “Wives and concubines,” the amazing thing is the fine characterization of this old life, this emotionalism easily brewing poetic, so that they silently reveal a near the decadent lyrical state of mind. And this mentality is largely derived from the author’s childhood life and memory. Childhood memories have at least three meanings for the author. First, the author tries to explore the root of the self-female complex from the narrative of childhood. “Root-seeking literature” clearly marked the author’s growth as a “cultural revolution” after the generation is a rootless generation, their past and history is an embarrassing existence, or that they can not pass the conventional narrative to express So the childhood narrative becomes another way, and in this way it is easy for the author to pick up the memory and seek the root of the source. Second, the perspective of childhood can strengthen the author’s text perspective. In this perspective, even adults are full of bloody events also transformed into a game, interesting, although not close to the concept but may be hyperopia phenomenon, and the objective effect may be because of this contrast and irony and even more perverse , Violent and cruel. That time because of this kind of digging become rich and colorful, and childhood those who are good or bad or impressed by the mother of children who naturally become the object of reproduction of Su Tong novels and Su Tong himself to study the object. Third, Su Tong’s works imply a growing theme, many works with rituals and memorials means that for the passing of life to sing a different melody of the elegy. Childhood is now a growing process, and his understanding of women is also in the process of its growth to build up, so he must go to find the source of this growth, the source of this thinking. Main character Songlai There is a wealthy family, and the father runs a factory with the ability to go to college and receive the best education. However, there are unexpected circumstances, the father suicide after the collapse of the factory, stepmother to let the lotus in the work and marry between the choice, Song Lian chose to marry, and is married to the rich concubine. At this time the song of the lotus is beyond the age of calm and reality, she has never suffered, so for their own choice of a material in the road to prosperity. However, she is still mature but 19-year-old female students, before entering the real Chen, she can not imagine how the war between women how tragic. And once the entry will never succeed, she can only participate, or perish. Song Lian in this a bloody woman in the war is always at a disadvantage: just entered the Chen when the servant guessed for Chen’s poor relatives, and then suffered a big wife Yu Ru’s disregard, two wife Zhuo Yun’s hypocrisy, three wife Mei Shan Of the blatant provocation, even the maidservants goose are secretly behind the bad. There is no friend in this war, only the enemy, everyone alone, only to snatch the only victory fruit – Chen Zuoqian’s favor. [3] Meishan Chen Zuoqian’s three aunt too. She is a hero than the protagonist more distinctive personality. Meishan, even the birthplace of their own do not know the opera, there is a “beautiful exquisite” face, it is a dare to drive on all the people, do whatever they want, dare not woman, is this woman Had to jump to Chen Zuoqian’s head. But also her in Chen, Chung’s wedding early night, abruptly Chen will take away. She did not like to dare to criticize Chen’s ancestors eight generations. She dare to Chen declaration, “five days less than me, I will find partners”, even so she still carrying Chen and “doctors” pass. Right and wrong, she can be on the big wife Yuru disrespect, but also hire people to play two wife Zhuo Yun children. She said to you, “If you are with someone else nonsense, I’ll tear your mouth, and I’m not afraid of you, and I am not afraid of anyone, who wants to stop me.” Was Zhuo cloud after the rape, she “eyes blatantly open, scolded dragging her every person.She scolded Zhuo Yun said I was alive you want to cut your knife knife to dig your heart to feed the dog to eat. A dare to dare to hate, dare to dare to dry woman, in the “male respectable woman”, “three classes five permanent” dominated the feudal society, can be regarded as a “odd woman”. However, too much desire to swell. Let her life flower bloom too hasty, it will naturally shorten the course of her life. [4] Chen Zuoqian He was a typical man in the feudal society of China. Chen Zuoqian fifty hanging time to marry the mourning lotus for four aunt, Song Lin crazy after marrying five aunt, the first three house concubine who left him a heir. Can be described as concubine groups, children around the knee. As a man, has money, right (at home he undoubtedly has the supreme right), female color, the desire of the child he has realized. However, the full realization of the desire is a serious threat to his life: Chen Zuoqian fifty years old when thin as “crane”, the body has long been three concubines “hollowed out”, and ” a bit overwhelmed embarrassment ” . [4] Listen to listen to speech Main point Su Tong to calm and almost white handwriting for the reader to draw a very sad woman living world. They are a group of humble and poor people, their fate as the candle in the wind, the water of the Ping, always have been swallowed, the danger of being submerged. Feudal ethical education, male-dominated oppression, is caused by the tragic fate of women is extremely important and can not shirk the factors. However, the problem of women themselves can not be ignored. At some point, the harm to women has not only social problems, traditional problems, but the people themselves, women themselves. In the “wives”, the Soviet Union to seize a very deep theme: women agree with each other after the male culture hurt each other’s reality, so the more the outcome of the woman’s miserable, the more sad, the more strongly hit the reader’s mind The These women, whether wives, prostitutes or mistresses, they have a strong sense of personal attachment, it is this “innate” attachment to make women in a no choice. And is attached to the subject – the male momentary likes and dislikes often make women face the loss of dependent crisis. The story of “polygamy” in the history of Chinese literature and the theme of “the roots” in the “wife and concubine” also got a new interpretation and interpretation. Works from the young, the spirit of the spirit, the culture of the lotus into the palace of the palace to write, to the song of the lotus, the five wives into the door of the house of bamboo leaves stopped, touched the new cultural movement since the Chinese literature is not uncommon feudal family system And the theme of male culture center “eat”. But the author did not use the main ink for the complaint that the woman never climbed the head of the man’s feudal parents Chen Zuoqian’s immolation and shamelessness, but through the description of the tragic fate of the song, focusing on the performance of five women in order to own Tied to a man’s neck and strangled each other. “Polygamy” family structure left them is a very narrow, suffocating living space, struggle to fight the law will become their own living space to expand the only and the necessary choice. Every woman’s fight is a threat to the survival and breathing of other women, which is enough to make them enemies to each other. [5] Artistic characteristics Su Tong in this article changed the first person of the narrative perspective, the use of third person, it is more objective, no matter how the evolution of the plot, he always hiding behind the text, without feelings of narrative, but let the reader feel that share True cruelty. In the description of the character, the author abandons the traditional perspective – he did not stand at a certain angle, in many people in a character to praise or give sympathy to establish in line with their aesthetic ideal heroine. In the specific writing, “wives and concubines” of the layout or plot structure with a classical gesture, a bit like “Dream of Red Mansions”, “Golden Lotus” and other classical novels reproduction. Secondly, Su Tong’s novel is always filled with a decadent sense, whether it is human nature or the relationship between people, he tried to “decadent” aesthetic point of view to show. In such a story about four women and a man in the old story, Su Tong slowly captured the “sexual and sexual direct very ‘sticky’ collusion and entanglement,” to explore the relationship between people. He seems to be in the performance of the feudal old family of decay, the essence is to express by the evil, death, desire and other forms of human decadence, which reflects the decadence of the entire history. From the beauty of the works in terms of words, Su Tong with a little old style of the feelings of the people, given the “wives and concubines” classical beauty: nostalgic, beautiful, decadent, wounded autumn autumn. The text is very delicate and beautiful, full of melancholy as the same charm. In the “wives and wanches”, the Soviet Union with the flow of language describes a rich image, these images contain a profound metaphor, creating a decadent mysterious atmosphere. These images not only help Su Tong in the novel to create a desolate hidden resentment of the atmosphere, but also constitute a deep narrative narrative power. Chen’s backyard is an image of the concentration, is the background of the novel and the stage of the scene, it is a symbol of the psychological structure of the characters, where the dry well, wisteria and Begonia and even Mei Shan singing opera, bear a very important narrative Features. “Wives and concubines” in the language to maintain the Soviet Union has always been the style. The first is like Suzhou Silk-like language: soft and elegant, strange color, strong stretch. Second, Su Tong has excellent language driving force, he will subvert the language of the collocation and break up the reorganization, resulting in language unfamiliarization, giving the language fresh charm, so as to bring readers to read the freshness and broad imagination. Works influence Before 1990, Su Tong’s novel “Wives and Concubines” published in the “harvest” on the publication. Once the novel is published, it is immediately reproduced by other literary journals. Zhang Yimou in the introduction of others under the Su Tong’s work, immediately initiation of the film to shoot it inspiration. So he called Su Tong, asked to buy copyright. In 1991, by Gong Li starred in the movie “red lanterns high” baked, won the 48th Venice Film Festival Award. Finally, the Oscar-like awards, although the results are not satisfactory, but the Chinese film industry and the literary world gave a sort of “shock” a bit. Fans from the “red lanterns hanging high” and know “wives and concubines”, and finally obsessed with writing a novel Su Tong. Since the success of Zhang Yimou’s film “Red Lantern High” after the success of Su Tong’s “wife concubine group” has also been adapted into a TV series, such as: 1992, Taiwan’s Huayi launched Chen Yulian starred in the TV series “red lanterns high”, 2011 Liu Xiaoqing starred in the mainland TV series “red lanterns high hanging”, 2012 Tian Hairong starred in the “lantern city”, Thai drama “orange crown” and so on. Related version Publication Time Name Press 1991.11 Wives and concubines Huacheng Publishing House Including “wives and concubines” and other six novels 1992.11 Hotspot novel selection of wives and wanches Changjiang Literature and Art Publishing House Contains the “wives and daughters” and other four novels 1993.02 New History Novels Zhejiang Literature and Art Publishing House Including “wives and daughters” and other 10 short stories 1993.03 Gong Li Zhang Yimou ‘s Film Masterpiece and Novel Zhongyuan Peasant Press The novel “Wives and concubines” are included 1993.04 Su Tong novels fine Southwest Normal University Press Including “wives and concubines” and other five novels 2000 Wives and concubines Times Literature and Art Publishing House Including the “wives and daughters” and other eight short stories 2000.06 Wives and concubines Taiwan Publishing House Including “wives and concubines” and other five novels 2000.09 Women’s Paradise Zhejiang Literature and Art Publishing House Contains the “wives and daughters” and other four novels 2002.05 Su Tong on behalf of the wife and concubines Spring Literature and Art Publishing House Including “wives and concubines” and other 10 representative 2002.11 Wives and concubines Yunnan People ‘s Publishing House Including “wives and daughters” and other nine short stories 2004.08 Wives and concubines Ancient Wu Xuan Publishing House Contains the “wives and daughters” and other four novels 2009.04 Su Tong selected her wife and concubines Beijing Yanshan Publishing House Included “wives and concubines” and so on 2010.03 Wives and concubines Shanghai Literature and Art Publishing House Contains the “wives and daughters” and other four novels 2011.03 Marriage scene Chongqing University Press Included “wives and concubines” and so on 2013.08 Chinese novels Huacheng Publishing House Included “wives and concubines” and so on Put away About the Author Su Tong (1963-), formerly known as Tong Zhonggui, Jiangsu Suzhou, contemporary famous writer. In 1980, he was admitted to the Chinese Department of Beijing Normal University. In 1983, he began to write and publish his works. After 1984, he was the editor of “Zhong Shan”. Written in the autumn and winter of 1986, “1934 years of escape” for its first novella. Has been published works of more than 100 million words, mainly in short stories set “wife concubine group”, “red powder”, “poppy house”, “cavalry”, novel “rice”, “my emperor career”, ” “,” Wu Zetian “and so on. Chen Sihong presided over the Chinese nation marriage law, marriage system upgrade 分享此译文 电子邮件 WhatsApp Twitter Google+ 中文(繁体) 妻妾們成群 中篇小說 《妻妾們成群》是作家創作的一部中篇小說。這部作品通過描寫一個“受過新時代教育”的女學生頌蓮,自願嫁入到高牆深院秩序井然的封建家族陳府,最終又在“妻妾成群”明爭暗鬥中走向精神崩潰的悲慘命運,藝術化地再現了中國封建禮教吞噬人性的恐怖景象。 《妻妾成群》曾被改編成多部影視作品,由張藝謀執導的《大紅燈籠高高掛》就是其中之一。 作品名稱 妻妾們成群 創作年代 1990年前後 文學體裁 中篇小說 字數 45千字 首版時間 1991年 書和電影都堪稱經典的20部偉大作品! 你看過哪些張藝謀導演的作品? 內容簡介 妻妾成群的時代背景是中國1920年代北洋軍閥混戰至第一次國共內戰前夕之間的幾年。 19歲的頌蓮,在父親去世後家道中落,被迫嫁給某富有人家陳姓家族作四太太,如同家族中的第四個女主人。剛嫁進這個富有的大宅院時,她受著有如王室的待遇,接受舒適的錘腳,當她的丈夫,大宅院的主人,夜晚留宿她的房間時,門前便會掛著紅燈籠。然而,頌蓮很快的發現,並非所有的太太們都能接受到同樣的奢華待遇。事實上,是主人每天決定要在哪一個太太的房間過夜,在哪個房間前點燈籠,享受腳底按摩,讓這位太太決定餐點,讓她得到僕人們的尊敬與服侍。這裡的競爭不斷,四位太太不斷去爭奪丈夫對自己的注意和感情,雖然大太太的競爭沒有這麼多。到最後,三太太梅姍死了,四太太頌蓮瘋了,二太太卓云自以為是“邀寵”戰爭的最後勝利者,殊不知五太太文竹的出現,直接摧毀了她的美妙算盤。只有大太太毓如,她一開始就選擇了逃避現實去唸經信佛,地位也一直穩同不可動搖。 妻妾們成群 創作背景 《妻妾成群》的驚人之處便是對這種舊式生活的精細刻畫,這種感性主義輕而易舉地醞釀出詩情畫意,使它們無言地透出一種近於頹廢的抒情心態。而這種心態很大程度上是源於作者的童年生活與記憶。 童年的回憶對於作者而言至少有三重意義。首先是作者力圖從童年的敘事中去探尋自我女性情結的根源。 “尋根文學”很清晰地標明了作者作為“文革”後成長起來的這一代人是無根的一代,他們的過去與歷史是一種尷尬的存在,抑或說他們自己是無法通過常規敘事去表述,於是童年敘述成為另一條路,而且通過這種方式也便於作者撿拾記憶,尋求到根源的所在。第二,童年的視角可以強化作者的文本視角。在這種視角中,即使是成人的充滿血腥的事件也蛻變為一種遊戲的、有趣的、雖不可近觀卻可能遠視的現象,而客觀的效果可能因為這種對比和反諷而顯得更加乖張、暴戾與殘忍。那個年代因為這樣的挖掘變得豐富多彩起來,而童年那些對蘇童本人好或不好或留下深刻印象的女性也自然成為蘇童小說再現的對像以及蘇童本人進行研究的對象。第三,蘇童的作品暗含著一個成長的主題,許多作品都帶有儀式與祭奠的意味,為逝去的生活唱著不同旋律的輓歌。童年到如今就是一個成長的過程,而他對女性的認識也是在其成長的過程中搭建起來的,所以他必須要去找到這成長的源,這思維的源。 主要人物 頌蓮 頌蓮原本有一個富裕的家庭,父親經營著一家工廠,有能力供她上大學,接受最好的教育。然而天有不測風雲,父親在工廠倒閉後自殺了,繼母讓頌蓮在工作和嫁人之間做出選擇,頌蓮選擇了嫁人,而且是嫁給有錢人做妾。此時的頌蓮有超出年齡的冷靜和現實,她從來沒有受過苦,所以為自己選擇了一條在物質上繼續富裕的道路。然而她再成熟也不過是十九歲的女學生,在真正進入陳家之前,她無法想像女人間的戰爭是何等慘烈。而一旦進入便永無出頭之日,她只能參與,或者滅亡。頌蓮在這一場腥風血雨的女人戰爭中始終處於下風:剛進陳家時被傭人猜測為陳家的窮親戚,接著遭受到大太太毓如的漠視,二太太卓雲的偽善,三太太梅珊的公然挑釁,連丫鬟雁兒都在背後偷偷使壞。這場戰爭中沒有朋友,只有敵人,每個人都孤軍奮戰,都只為搶奪那唯一的勝利果實——陳佐千的寵愛。 [3] 梅珊 陳佐千的三姨太。她是一個比主人公頌蓮更具有鮮明個性的人物。梅珊,這個連自己出生地都不知道的戲子,有一張“美麗絕倫”的臉,更是一個敢臨駕於一切人之上,無所不欲,無所不敢的女人,就是這個女人曾妄想爬到陳佐千的頭上。也是她在陳、頌的新婚初夜,硬生生的將陳搶走。她不順心時敢罵陳的祖宗八代。她膽敢對陳宣言,“五天不到我那,我就找伴”,即使如此她依然背著陳和“醫生”私通。是非面前,她可以對大太太毓如不敬,還僱人打二太太卓雲的小孩。她對頌蓮說“你要是跟別人胡說我就把你的嘴撕爛了。我不怕你們,我誰也不怕,誰想害我都是癡心妄想!”。被卓雲捉姦後,她“雙目怒睜,罵著拖曳她的每一個人。她罵卓雲說我活著要把你一刀刀削了死了也要挖你的心餵狗吃。”這樣一個敢愛敢恨,敢說敢干的女人,在“男尊女卑”、“三綱五常”佔統治地位的封建社會,可算得上是一位“奇女子”。然而,過於急切膨脹的慾望。讓她的生命之花綻放的太過匆忙,也就自然縮短了她生命的歷程。 [4] 陳佐千 他是中國封建社會時期一位典型的男人。陳佐千五十掛零的時候娶了頌蓮作四姨太,頌蓮瘋了以後又娶了五姨太,前三房姨太太都為他留下了子嗣。真可謂妻妾成群,兒女繞膝。作為一個男人,擁有金錢、權利(在家裡他無疑擁有至高無上的權利)、女色、子女的慾望他都實現了。然而,慾望的充分實現卻嚴重威脅著他的生命:陳佐千五十歲時就乾瘦如“仙鶴”,身子早已被三位姨太太“掏空”了,顯出”有點招架不住的窘態” 。[4] 作品賞析 聽語音 主題思想 蘇童以冷靜近乎白描的手筆為讀者繪出了一個極度可悲的女性生存世界。她們是一群卑微而又可憐的人物,她們的命運如風中之燭、水中之萍,時時都有被吞噬、被淹沒的危險。封建禮教、男權主義的壓迫,是造成女性悲劇命運的極其重要的和不可推卸的因素。但是,女性自身的問題也同樣不能被忽略。某些時候,對女性的傷害已經不僅僅是社會問題、傳統問題,而是人本身、女性自身的問題。 在《妻妾成群》中,蘇童抓住了一個很深刻的主題:女性在認同男性文化後彼此傷害對方的現實,於是女人的結局越是淒慘,越是悲涼,越是強烈地撞擊著讀者心靈。這些女人們,不管是妻妾、是妓女還是情婦,他們都帶有強烈的人身依附意識,正是這種“與生俱來”的依附意識使女性處於無可選擇的境地。而被依附主體——男性一時的好惡往往使女性面臨失去依附的危機。 中國文學史上“一夫多妻”的故事和“紅顏薄命”的主題在《妻妾成群》裡也得到了全新的演繹和詮釋。作品從年輕、水靈、有文化的頌蓮踏進陳府大門寫起,到頌蓮發瘋、五太太文竹進陳府大門戛然而止,觸及的是新文化運動以來中國文學屢見不鮮的封建家族制度和男權中心文化“吃人”的主題。但作者沒有將主要的筆墨用於控訴聲稱女人永遠爬不到男人頭上來的封建家長陳佐千的荒淫和無恥,而是通過對頌蓮悲劇命運的描繪,重點表現了5個女人如何為了將自己拴在一個男人的脖子上而互相絞殺。 “一夫多妻”的家庭結構留給她們的是十分狹窄、令人窒息的生存空間,爭寵鬥法便成為她們拓展自己生存空間的惟一和必須的選擇。每個女人的爭寵都是對其他女人的生存和呼吸的一種威脅,這便足以使她們互相為敵。 [5] 藝術特色 蘇童在這篇文章中一改第一人稱的敘述視角,採用第三人稱,顯得更為客觀,無論情節怎麼演變,他始終躲在文字後面,不帶感情的敘述著,卻更讓讀者感受到那份真實的殘忍。在對角色的描述上,作者捨棄了傳統的視角——他沒有站在某個角度,在諸多人物中對某個人物進行讚美或賦予同情,以確立符合自己審美理想的女主人公。 在具體寫作上,《妻妾成群》的謀篇佈局或是情節結構都帶著古典的姿態,有點像《紅樓夢》、《金瓶梅》等古典小說的再現。其次,蘇童的小說中始終瀰漫著一股頹廢感,無論是人性壓抑還是人與人之間的關係,他都試圖從“頹”的美學角度去展示。在這樣一個講述四個女人和一個男人的老故事中,蘇童緩緩的捕述了“性與性直接的非常‘黏’的勾結與糾纏”,探討了人與人之間的關係。他看似是在表現封建舊式家庭的腐朽,實質是想表達由罪惡、死亡、慾望等構成的人性的頹敗,從而折射出整個歷史的頹敗。 從作品的美感來言,蘇童帶著一點舊式文人的情懷,賦予了《妻妾成群》古典的美感:懷舊的,唯美的,頹廢的,傷春悲秋的。文字非常纖巧華美,充滿著哀歌一樣的感人魅力。 在《妻妾成群》中,蘇童用流麗的語言描寫了豐富的意象,這些意象蘊含了深刻的隱喻,營造出了一種頹廢神秘的氣氛。這些意像不僅幫助蘇童在小說中塑造了淒清幽怨的氛圍,更構成了小說敘述的深層動力。陳家的後院便是個意象的集中地,是小說的空間背景和發生舞台,更是人物的心理結構的象徵,那裡的枯井、紫藤和海棠甚至梅珊唱的京戲等,承擔了非常重大的敘事功能。 《妻妾成群》在語言上保持著蘇童一貫的風格。首先是如同蘇州絲綢似的語言:柔軟飄逸,色彩奇異,綿延有力。其次蘇童有著出色的語言駕馭力,他將語言顛覆性的搭配和拆散重組,從而造成語言的陌生化,賦予語言鮮活的魅力,從而帶給讀者閱讀的新鮮感和寬廣的想像力。 作品影響 1990年前後,蘇童的小說《妻妾成群》發表在刊物《收穫》上。小說一經發表,立即被其他文學刊物轉載。張藝謀在他人的介紹下拜讀了蘇童的這部作品後,立刻萌生了要將它拍攝電影的靈感。於是他給蘇童打電話,要求買版權。 1991年,由鞏俐主演的電影《大紅燈籠高高掛》出爐,一舉拿下第48屆威尼斯電影節大獎。最後角逐奧斯卡金像獎,雖然結果未盡如人意,但中國電影界和文學界都給不大不小地“震”了一下。影迷由《大紅燈籠高高掛》而知道《妻妾成群》,最後迷戀上了寫小說的蘇童。 自張藝謀執導的電影《大紅燈籠高高掛》成功後,蘇童的《妻妾成群》也被改編成電視劇,如:1992年台灣華視推出的陳玉蓮主演電視劇《大紅燈籠高高掛》,2011年劉曉慶主演大陸電視劇《大紅燈籠高高掛》,2012年田海蓉主演的《花燈滿城》,泰劇《橙花皇冠》等等。 相關版本 出版時間 名稱 出版社 備註 1991.11 妻妾成群 花城出版社 收錄了《妻妾成群》等6篇小說 1992.11 熱點小說選萃 妻妾成群 長江文藝出版社 收錄了《妻妾成群》等4篇小說 1993.02 新歷史小說選 浙江文藝出版社 收錄了《妻妾成群》等10篇中短篇小說 1993.03 鞏俐·張藝謀電影傑作與小說 中原農民出版社 小說《妻妾成群》包含在內 1993.04 蘇童小說精品 西南師範大學出版社 收錄了《妻妾成群》等5篇小說 2000 妻妾成群 時代文藝出版社 收錄了《妻妾成群》等8篇中短篇小說 2000.06 妻妾成群 台海出版社 收錄了《妻妾成群》等5篇小說 2000.09 婦女樂園 浙江文藝出版社 收錄了《妻妾成群》等4篇小說 2002.05 蘇童代表作 妻妾成群 春風文藝出版社 收錄了《妻妾成群》等10篇代表作 2002.11 妻妾成群 雲南人民出版社 收錄了《妻妾成群》等9篇中短篇小說 2004.08 妻妾成群 古吳軒出版社 收錄了《妻妾成群》等4篇小說 2009.04 蘇童精選集 妻妾成群 北京燕山出版社 收錄了《妻妾成群》等 2010.03 妻妾成群 上海文藝出版社 收錄了《妻妾成群》等4篇小說 2011.03 婚姻即景 重慶大學出版社 收錄了《妻妾成群》等 2013.08 中篇小說金庫 妻妾成群 花城出版社 收錄了《妻妾成群》等 收起 作者簡介 蘇童(1963- ),原名童忠貴,江蘇蘇州人,當代著名作家。 1980年考入北京師範大學中文系,1983年開始文學創作並發表作品,1984年後一度擔任《鐘山》編輯。寫於1986年秋冬之交的《一九三四年的逃亡》為其第一部中篇小說。迄今已發表作品百餘萬字,主要有中短篇小說集《妻妾成群》、《紅粉》、《罌粟之家》、《騎兵》,長篇小說《米》、《我的帝王生涯》、《城北地帶》、《武則天》等。 陳斯紅主持中華民族婚姻法、婚姻制度升級換代Qīqièmen chéng qún zhōng piān xiǎoshuō “qīqièmen chéng qún” shì zuòjiā chuàngzuò de yī bù zhōng piān xiǎoshuō. Zhè bù zuòpǐn tōngguò miáoxiě yīgè “shòuguò xīn shídài jiàoyù” de nǚ xuéshēng sòng lián, zìyuàn jià rù dào gāo qiáng shēn yuàn zhìxù jǐngrán de fēngjiàn jiāzú chén fǔ, zuìzhōng yòu zài “qīqiè chéng qún” míngzhēng’àndòu zhōng zǒuxiàng jīngshén bēngkuì de bēicǎn mìngyùn, yìshù huà dì zàixiànle zhōngguó fēngjiàn lǐjiào tūnshì rénxìng de kǒngbùjǐngxiàng. “Qīqiè chéng qún” céng bèi gǎi biānchéng duō bù yǐngshì zuòpǐn, yóu zhāngyìmóu zhídǎo de “dàhóng dēnglóng gāo gāo guà” jiùshì qízhōng zhī yī. Zuòpǐn míngchēng qīqièmen chéng qún chuàngzuò niándài 1990 nián qiánhòu wénxué tǐcái zhōng piān xiǎoshuō zì shù 45 qiān zì shǒu bǎn shíjiān 1991 nián shū hé diànyǐng dū kān chēng jīngdiǎn de 20 bù wěidà zuòpǐn! Nǐ kànguò nǎxiē zhāngyìmóu dǎoyǎn de zuòpǐn? Nèiróng jiǎnjiè qīqiè chéng qún de shídài bèijǐng shì zhōngguó 1920 niándài běiyáng jūnfá hùnzhàn zhì dì yī cì guó gòng nèizhàn qiánxī zhī jiān de jǐ nián. 19 Suì de sòng lián, zài fùqīn qùshì hòu jiā dàozhōng luò, bèi pò jià gěi mǒu fùyǒu rénjiā chén xìng jiāzú zuò sì tàitài, rútóng jiāzú zhōng de dì sì gè nǚ zhǔrén. Gāng jià jìn zhège fùyǒu de dàzhái yuàn shí, tā shòuzhe yǒurú wángshì de dàiyù, jiēshòu shūshì de chuí jiǎo, dāng tā de zhàngfū, dàzhái yuàn de zhǔrén, yèwǎn liúsù tā de fángjiān shí, ménqián biàn huì guàzhe hóng dēnglóng. Rán’ér, sòng lián hěn kuài de fāxiàn, bìngfēi suǒyǒu de tàitàimen dōu néng jiēshòu dào tóngyàng de shēhuá dàiyù. Shìshí shàng, shì zhǔrén měitiān juédìng yào zài nǎ yīgè tàitài de fángjiān guòyè, zài nǎge fángjiān qián diǎn dēnglóng, xiǎngshòu jiǎodǐ ànmó, ràng zhè wèi tàitài juédìng cān diǎn, ràng tā dédào pú rénmen de zūnjìng yǔ fúshi. Zhèlǐ de jìngzhēng bùduàn, sì wèi tàitài bùduàn qù zhēngduó zhàngfū duì zìjǐ de zhùyì hé gǎnqíng, suīrán dà tàitài de jìngzhēng méiyǒu zhème duō. Dào zuìhòu, sān tàitài méi shān sǐle, sì tàitài sòng lián fēngle, èr tàitài zhuō yún zìyǐwéishì “yāochǒng” zhànzhēng de zuìhòu shènglì zhě, shūbùzhī wǔ tàitài wén zhú de chūxiàn, zhíjiē cuīhuǐle tā dì měimiào suànpán. Zhǐyǒu dà tàitài yù rú, tā yī kāishǐ jiù xuǎnzéle táobì xiànshí qù niànjīngxìn fú, dìwèi yě yīzhí wěn tóng bùkě dòngyáo. Qīqièmen chéng qún chuàngzuò bèijǐng “qīqiè chéng qún” de jīngrén zhī chù biàn shì duì zhè zhǒng jiùshì shēnghuó de jīngxì kèhuà, zhè zhǒng gǎnxìng zhǔyì qīng’éryìjǔ de yùnniàng chū shīqínghuàyì, shǐ tāmen wúyán de tòu chū yīzhǒng jìn yú tuífèi de shūqíng xīntài. Ér zhè zhǒng xīntài hěn dà chéngdù shàng shì yuán yú zuòzhě de tóngnián shēnghuó yǔ jìyì. Tóngnián de huíyì duìyú zuòzhě ér yán zhìshǎo yǒu sānchóng yìyì. Shǒuxiān shi zuòzhě lìtú cóng tóngnián de xùshì zhōng qù tànxún zìwǒ nǚxìng qíngjié de gēnyuán. “Xúngēn wénxué” hěn qīngxī dìbiāo míngliǎo zuòzhě zuòwéi “wéngé” hòu chéngzhǎng qǐlái de zhè yīdài rén shì wúgēn de yīdài, tāmen de guòqù yǔ lìshǐ shì yīzhǒng gāngà de cúnzài, yìhuò shuō tāmen zìjǐ shì wúfǎ tōngguò chángguī xùshìqù biǎoshù, yúshì tóngnián xùshù chéngwéi lìng yītiáo lù, érqiě tōngguò zhè zhǒng fāngshì yě biànyú zuòzhě jiǎnshí jìyì, xúnqiú dào gēnyuán de suǒzài. Dì èr, tóngnián de shìjiǎo kěyǐ qiánghuà zuòzhě de wénběn shìjiǎo. Zài zhè zhǒng shìjiǎo zhòng, jíshǐ shì chéngrén de chōngmǎn xuèxīng de shìjiàn yě tuìbiàn wéiyīzhǒng yóuxì de, yǒuqù de, suī bùkě jìn guān què kěnéng yuǎnshì de xiànxiàng, ér kèguān de xiàoguǒ kěnéng yīnwèi zhè zhǒng duìbǐ hé fǎnfěng ér xiǎndé gèngjiā guāizhāng, bàolì yǔ cánrěn. Nàgè niándài yīnwèi zhèyàng de wājué biàn dé fēngfù duōcǎi qǐlái, ér tóngnián nàxiē duì sūtóng běnrén hǎo huò bù hǎo huò liú xià shēnkè yìnxiàng de nǚxìng yě zìrán chéngwéi sūtóng xiǎoshuō zàixiàn de duìxiàng yǐjí sūtóng běnrén jìnxíng yánjiū de duì xiàng. Dì sān, sūtóng de zuòpǐn ànhánzhe yīgè chéngzhǎng de zhǔtí, xǔduō zuòpǐn dōu dài yǒu yíshì yǔ jìdiàn de yìwèi, wèi shì qù de shēnghuó chàngzhe bùtóng xuánlǜ de wǎngē. Tóngnián dào rújīn jiùshì yīgè chéngzhǎng de guòchéng, ér tā duì nǚxìng de rènshi yěshì zài qí chéngzhǎng de guòchéng zhōng dājiàn qǐlái de, suǒyǐ tā bìxū yào qù zhǎodào zhè chéngzhǎng de yuán, zhè sīwéi de yuán. Zhǔyào rénwù sòng lián sòng lián yuánběn yǒuyīgè fùyù de jiātíng, fùqīn jīngyíngzhe yījiā gōngchǎng, yǒu nénglì gōng tā shàng dàxué, jiēshòu zuì hǎo de jiàoyù. Rán’ér tiān yǒu bùcè fēngyún, fùqīn zài gōngchǎng dǎobì hòu zìshāle, jìmǔ ràng sòng lián zài gōngzuò hé jià rén zhī jiān zuò chū xuǎnzé, sòng lián xuǎnzéle jià rén, érqiě shì jià gěi yǒu qián rén zuò qiè. Cǐ shí de sòng lián yǒu chāochū niánlíng de lěngjìng hé xiànshí, tā cónglái méiyǒu shòuguò kǔ, suǒyǐ wéi zìjǐ xuǎnzéle yītiáo zài wùzhí shàng jìxù fùyù de dàolù. Rán’ér tā zài chéngshú yě bùguò shì shíjiǔ suì de nǚ xuéshēng, zài zhēnzhèng jìnrù chén jiā zhīqián, tā wúfǎ xiǎngxiàng nǚrénjiān de zhànzhēng shì héděng cǎnliè. Ér yīdàn jìnrù biàn yǒng wú chūtóu zhī rì, tā zhǐ néng cānyù, huòzhě mièwáng. Sòng lián zài zhè yīchǎng xīngfēngxuèyǔ de nǚrén zhànzhēng zhōng shǐzhōng chǔyú xià fēng: Gāng jìn chénjiāshí bèi yōngrén cāicè wèi chén jiā de qióng qīnqī, jiēzhe zāoshòu dào dà tàitài yù rú de mòshì, èr tàitài zhuō yún de wèishàn, sān tàitài méi shān de gōngrán tiǎoxìn, lián yāhuan yàn er dōu zài bèihòu tōutōu shǐhuài. Zhè chǎng zhànzhēng zhōng méiyǒu péngyǒu, zhǐyǒu dírén, měi gèrén dōu gūjūn fènzhàn, dōu zhǐ wèi qiǎngduó nà wéiyī de shènglì guǒshí——chén zuǒqiān de chǒng’ài. [3] Méi shān chén zuǒqiān de sān yí tài. Tā shì yīgè bǐ zhǔréngōng sòng lián gèng jùyǒu xiānmíng gèxìng de rénwù. Méi shān, zhège lián zìjǐ chūshēng dì dōu bù zhīdào de xìzi, yǒu yī zhāng “měilì juélún” de liǎn, gèng shì yīgè gǎn lín jià yú yīqiè rén zhī shàng, wú suǒ bù yù, wú suǒ bù gǎn de nǚrén, jiùshì zhège nǚrén céng wàngxiǎng pá dào chén zuǒqiān de tóushàng. Yěshì tā zài chén, sòng de xīnhūn chūyè, yìng shēngshēng de jiāng chén qiǎng zǒu. Tā bù shùnxīn shí gǎn mà chén de zǔzōng bādài. Tā dǎngǎn duì chén xuānyán,“wǔ tiān bù dào wǒ nà, wǒ jiù zhǎo bàn”, jíshǐ rúcǐ tā yīrán bèizhe chén hé “yīshēng” sī tōng. Shìfēi miànqián, tā kěyǐ duì dà tàitài yù rú bùjìng, hái gù rén dǎ èr tàitài zhuō yún de xiǎohái. Tā duì sòng lián shuō “nǐ yàoshi gēn biérén húshuō wǒ jiù bǎ nǐ de zuǐ sī lànle. Wǒ bùpà nǐmen, wǒ shuí yě bùpà, shuí xiǎng hài wǒ dū shì chīxīnwàngxiǎng!”. Bèi zhuō yún zhuōjiān hòu, tā “shuāng mù nù zhēng, màzhe tuōyè tā de měi yīgèrén. Tā mà zhuō yún shuō wǒ huózhe yào bǎ nǐ yīdāo dāo xiāo le sǐle yě yào wā nǐ de xīn wèi gǒu chī.” Zhèyàng yīgè gǎn ài gǎn hèn, gǎn shuō gǎn gàn de nǚrén, zài “nánzūnnǚbēi”,“sāngāngwǔcháng” zhàn tǒngzhì dìwèi de fēngjiàn shèhuì, kě suàndé shàng shì yī wèi “qí nǚzǐ”. Rán’ér, guòyú jíqiè péngzhàng de yùwàng. Ràng tā de shēngmìng zhī huā zhànfàng de tàiguò cōngmáng, yě jiù zìrán suōduǎnle tā shēngmìng de lìchéng. [4] Chén zuǒqiān tā shì zhōngguó fēngjiàn shèhuì shíqí yī wèi diǎnxíng de nánrén. Chén zuǒqiān wǔshí guàlíng de shíhòu qǔle sòng lián zuò sì yí tài, sòng lián fēngle yǐhòu yòu qǔle wǔ yí tài, qián sān fáng yítàitài dōu wèi tā liú xiàle zǐsì. Zhēn kěwèi qīqiè chéng qún, érnǚ rào xī. Zuòwéi yīgè nánrén, yǒngyǒu jīnqián, quánlì (zài jiālǐ tā wúyí yǒngyǒu zhìgāowúshàng de quánlì), nǚ sè, zǐnǚ de yùwàng tā dōu shíxiànle. Rán’ér, yùwàng de chōngfèn shíxiàn què yánzhòng wēixiézhe tā de shēngmìng: Chén zuǒ qiān wǔshí suì shí jiù gānshòu rú “xiānhè”, shēnzi zǎoyǐ bèi sān wèi yítàitài “tāo kōng”le, xiǎn chū”yǒudiǎn zhāo jiàbùzhù de jiǒngtài”.[4] Zuòpǐn shǎngxī tīng yǔyīn zhǔtí sīxiǎng sūtóng yǐ lěngjìng jìnhū báimiáo de shǒubǐ wèi dúzhě huì chūle yīgè jídù kěbēi de nǚxìng shēngcún shìjiè. Tāmen shì yīqún bēiwéi ér yòu kělián de rénwù, tāmen de mìngyùn rú fēng zhōng zhī zhú, shuǐzhōng zhī píng, shí shí dōu yǒu bèi tūnshì, bèi yānmò de wéixiǎn. Fēngjiàn lǐjiào, nán quán zhǔyì de yāpò, shì zàochéng nǚxìng bēijù mìngyùn de jíqí zhòngyào de hé bùkě tuīxiè de yīnsù. Dànshì, nǚxìng zìshēn de wèntí yě tóngyàng bùnéng bèi hūlüè. Mǒu xiē shíhòu, duì nǚxìng de shānghài yǐjīng bùjǐn jǐn shì shèhuì wèntí, chuántǒng wèntí, ér shì rén běnshēn, nǚxìng zìshēn de wèntí. Zài “qīqiè chéng qún” zhōng, sūtóng zhuā zhùle yīgè hěn shēnkè de zhǔtí: Nǚxìng zài rèntóng nánxìng wénhuà hòu bǐcǐ shānghài duìfāng de xiànshí, yúshì nǚrén de jiéjú yuè shì qīcǎn, yuè shì bēiliáng, yuè shì qiángliè de zhuàngjízhe dúzhě xīnlíng. Zhèxiē nǚrénmen, bùguǎn shì qīqiè, shì jìnǚ háishì qíngfù, tāmen dōu dài yǒu qiángliè de rénshēn yīfù yìshí, zhèng shì zhè zhǒng “yǔ shēng jù lái” de yīfù yìshí shǐ nǚxìng chǔyú wú kě xuǎnzé de jìngdì. Ér bèi yīfù zhǔtǐ——nánxìng yīshí de hàowù wǎngwǎng shǐ nǚxìng miànlín shīqù yīfù de wéijī. Zhōngguó wénxué shǐshàng “yīfū duōqī” de gùshì hé “hóngyán bómìng” de zhǔtí zài “qīqiè chéng qún” lǐ yě dédàole quánxīn de yǎnyì hé quánshì. Zuòpǐn cóng niánqīng, shuǐling, yǒu wénhuà de sòng lián tà jìn chén fǔ dàmén xiě qǐ, dào sòng lián fāfēng, wǔ tàitài wén zhú jìn chén fǔ dàmén jiárán ér zhǐ, chùjí de shì xīn wénhuà yùndòng yǐlái zhōngguó wénxué lǚjiànbùxiān de fēngjiàn jiāzú zhìdù hénán quán zhōngxīn wénhuà “chī rén” de zhǔtí. Dàn zuòzhě méiyǒu jiàng zhǔyào de bǐmò yòng yú kòngsù shēngchēng nǚrén yǒngyuǎn pá bù dào nánrén tóushàng lái de fēngjiàn jiāzhǎng chén zuǒ qiān de huāngyín hé wúchǐ, ér shì tōngguò duì sòng lián bēijù mìngyùn de miáohuì, zhòngdiǎn biǎoxiànle 5 gè nǚrén rúhé wèile jiāng zìjǐ shuān zài yīgè nánrén de bózi shàng ér hùxiāng jiǎoshā. “Yīfū duōqī” de jiātíng jiégòu liú gěi tāmen de shì shífēn xiázhǎi, lìng rén zhìxí de shēngcún kōngjiān, zhēngchǒng dòufǎ biàn chéngwéi tāmen tàzhǎn zìjǐ shēngcún kōngjiān de wéi yī hè bìxū de xuǎnzé. Měi gè nǚrén de zhēngchǒng dōu shì duì qítā nǚrén de shēngcún hé hūxī de yīzhǒng wēixié, zhè biàn zúyǐ shǐ tāmen hùxiāng wèi dí. [5] Yìshù tèsè sūtóng zài zhè piān wénzhāng zhōng yī gǎi dì yī rénchēng de xùshù shìjiǎo, cǎiyòng dì sān rénchēng, xiǎndé gèng wèi kèguān, wúlùn qíngjié zěnme yǎnbiàn, tā shǐzhōng duǒ zài wénzì hòumiàn, bù dài gǎnqíng de xùshùzhe, què gèng ràng dúzhě gǎnshòu dào nà fèn zhēnshí de cánrěn. Zài duì juésè de miáoshù shàng, zuòzhě shěqìle chuántǒng de shìjiǎo——tā méiyǒu zhàn zài mǒu gè jiǎodù, zài zhūduō rénwù zhòng duì mǒu gè rénwù jìnxíng zànměi huò fùyǔ tóngqíng, yǐ quèlì fúhé zìjǐ shěnměi lǐxiǎng de nǚ zhǔréngōng. Zài jùtǐ xiězuò shàng,“qīqiè chéng qún” de móu piān bùjú huò shì qíngjié jiégòu dōu dàizhe gǔdiǎn de zītài, yǒudiǎn xiàng “hónglóumèng”,“jīnpíngméi” děng gǔdiǎn xiǎoshuō de zàixiàn. Qícì, sūtóng de xiǎoshuō zhōng shǐzhōng mímànzhe yī gǔ tuífèi gǎn, wúlùn shì rénxìng yāyì háishì rén yǔ rén zhī jiān de guānxì, tā dōu shìtú cóng “tuí” dì měixué jiǎodù qù zhǎnshì. Zài zhèyàng yīgè jiǎngshù sì gè nǚ rén hé yīgè nánrén de lǎo gùshì zhōng, sūtóng huǎn huǎn de bǔ shùle “xìng yǔ xìng zhíjiē de fēicháng ‘nián’ de gōujié yǔ jiūchán”, tàntǎole rén yǔ rén zhī jiān de guānxì. Tā kàn sì shì zài biǎoxiàn fēngjiàn jiùshì jiātíng de fǔxiǔ, shízhì shì xiǎng biǎodá yóu zuì’è, sǐwáng, yùwàng děng gòuchéng de rénxìng de tuíbài, cóng’ér zhéshè chū zhěnggè lìshǐ de tuíbài. Cóng zuòpǐn dì měigǎn lái yán, sūtóng dàizhe yīdiǎn jiùshì wénrén de qínghuái, fùyǔle “qīqiè chéng qún” gǔdiǎn dì měigǎn: Huáijiù de, wéiměi de, tuífèi de, shāng chūn bēi qiū de. Wénzì fēicháng xiānqiǎo huáměi, chōngmǎnzhe āigē yīyàng de gǎnrén mèilì. Zài “qīqiè chéng qún” zhōng, sūtóng yòng liúlì de yǔyán miáoxiěle fēngfù de yìxiàng, zhèxiē yìxiàng yùnhánle shēnkè de yǐnyù, yíngzào chūle yīzhǒng tuífèi shénmì de qìfēn. Zhèxiē yìxiàng bù jǐn bāngzhù sūtóng zài xiǎoshuō zhōng sùzàole qīqīng yōuyuàn de fēnwéi, gèng gòuchéngle xiǎoshuō xùshù de shēncéng dònglì. Chén jiā de hòu yuàn biàn shìgè yì xiàng de jízhōng de, shì xiǎoshuō de kōngjiān bèijǐng hé fāshēng wǔtái, gèng shì rénwù de xīnlǐ jiégòu de xiàngzhēng, nàlǐ de kūjǐng, zǐténg hé hǎitáng shènzhì méi shān chàng de jīng xì děng, chéngdānle fēicháng zhòngdà de xùshì gōngnéng. “Qīqiè chéng qún” zài yǔyán shàng bǎochízhe sūtóng yīguàn de fēnggé. Shǒuxiān shi rútóng sūzhōu sīchóu shì de yǔyán: Róuruǎn piāoyì, sècǎi qíyì, miányán yǒulì. Qícì sūtóng yǒuzhe chūsè de yǔyán jiàyù lì, tā jiāng yǔyán diānfù xìng de dāpèi hé chāisàn chóngzǔ, cóng’ér zàochéng yǔyán de mòshēng huà, fùyǔ yǔyán xiān huó de mèilì, cóng’ér dài gěi dúzhě yuèdú de xīnxiān gǎn hé kuānguǎng de xiǎngxiànglì. Zuòpǐn yǐngxiǎng 1990 nián qiánhòu, sūtóng de xiǎoshuō “qīqiè chéng qún” fābiǎo zài kānwù “shōuhuò” shàng. Xiǎoshuō yījīng fābiǎo, lìjí bèi qítā wénxué kānwù zhuǎnzài. Zhāngyìmóu zài tārén de jièshào xià bàidúle sūtóng de zhè bù zuòpǐn hòu, lìkè méngshēngle yào jiāng tā pāishè diànyǐng de línggǎn. Yúshì tā gěi sūtóng dǎ diànhuà, yāoqiú mǎi bǎnquán. 1991 Nián, yóu gǒnglì zhǔyǎn de diànyǐng “dàhóng dēnglóng gāo gāo guà” chūlú, yījǔ ná xià dì 48 jiè wēinísī diànyǐng jié dàjiǎng. Zuìhòu juézhú àosīkǎ jīn xiàng jiǎng, suīrán jiéguǒ wèi jìn rú rényì, dàn zhōngguó diànyǐng jiè hé wénxuéjiè dōu gěi bù dà bù xiǎo dì “zhèn”le yīxià. Yǐngmí yóu “dàhóng dēnglóng gāo gāo guà” ér zhīdào “qīqiè chéng qún”, zuìhòu míliàn shàngle xiě xiǎoshuō de sūtóng. Zì zhāngyìmóu zhídǎo de diànyǐng “dàhóng dēnglóng gāo gāo guà” chénggōng hòu, sūtóng de “qīqiè chéng qún” yě bèi gǎi biānchéng diànshìjù, rú:1992 Nián táiwān huá shì tuīchū de chényùlián zhǔyǎn diànshìjù “dàhóng dēnglóng gāo gāo guà”,2011 nián liúxiǎoqìng zhǔyǎn dàlù diànshìjù “dàhóng dēnglóng gāo gāo guà”,2012 nián tiánhǎiróng zhǔyǎn de “huādēng mǎn chéng”, tài jù “chéng huā huángguàn” děng děng. Xiāngguān bǎnběn chūbǎn shíjiān míngchēng chūbǎn shè bèizhù 1991.11 Qīqiè chéng qún huāchéng chūbǎn shè shōulùle “qīqiè chéng qún” děng 6 piān xiǎoshuō 1992.11 Rèdiǎn xiǎoshuō xuǎn cuì qīqiè chéng qún chángjiāng wényì chūbǎn shè shōulùle “qīqiè chéng qún” děng 4 piān xiǎoshuō 1993.02 Xīn lìshǐ xiǎoshuō xuǎn zhèjiāng wényì chūbǎn shè shōulùle “qīqiè chéng qún” děng 10 piān zhōng duǎnpiān xiǎoshuō 1993.03 Gǒnglì·zhāngyìmóu diànyǐng jiézuò yǔ xiǎoshuō zhōngyuán nóngmín chūbǎn shè xiǎoshuō “qīqiè chéng qún” bāohán zài nèi 1993.04 Sūtóng xiǎoshuō jīngpǐn xīnán shīfàn dàxué chūbǎn shè shōulùle “qīqiè chéng qún” děng 5 piān xiǎoshuō 2000 qīqiè chéng qún shídài wényì chūbǎn shè shōulùle “qīqiè chéng qún” děng 8 piān zhōng duǎnpiān xiǎoshuō 2000.06 Qīqiè chéng qún táihǎi chūbǎn shè shōulùle “qīqiè chéng qún” děng 5 piān xiǎoshuō 2000.09 Fùnǚ lèyuán zhèjiāng wényì chūbǎn shè shōulùle “qīqiè chéng qún” děng 4 piān xiǎoshuō 2002.05 Sūtóng dàibiǎozuò qīqiè chéng qún chūnfēng wényì chūbǎn shè shōulùle “qīqiè chéng qún” děng 10 piān dàibiǎozuò 2002.11 Qīqiè chéng qún yúnnán rénmín chūbǎn shè shōulùle “qīqiè chéng qún” děng 9 piān zhōng duǎnpiān xiǎoshuō 2004.08 Qīqiè chéng qún gǔ wú xuān chūbǎn shè shōulùle “qīqiè chéng qún” děng 4 piān xiǎoshuō 2009.04 Sūtóng jīngxuǎn jí qīqiè chéng qún běijīng yànshān chūbǎn shè shōulùle “qīqiè chéng qún” děng 2010.03 Qīqiè chéng qún shànghǎi wényì chūbǎn shè shōulùle “qīqiè chéng qún” děng 4 piān xiǎoshuō 2011.03 Hūnyīn jíjǐng chóngqìng dàxué chūbǎn shè shōulùle “qīqiè chéng qún” děng 2013.08 Zhōng piān xiǎoshuō jīnkù qīqiè chéng qún huāchéng chūbǎn shè shōulùle “qīqiè chéng qún” děng shōu qǐ zuòzhě jiǎnjiè sūtóng (1963- ), yuánmíng tóngzhōngguì, jiāngsū sūzhōu rén, dāngdài zhùmíng zuòjiā. 1980 Nián kǎo rù běijīng shīfàn dàxué zhōngwén xì,1983 nián kāishǐ wénxué chuàngzuò bìng fābiǎo zuòpǐn,1984 nián hòu yīdù dānrèn “zhōng shān” biānjí. Xiě yú 1986 nián qiūdōng zhī jiāo de “yījiǔsānsì nián de táowáng” wéi qí dì yī bù zhōng piān xiǎoshuō. Qìjīn yǐ fābiǎo zuòpǐn bǎi yú wàn zì, zhǔyào yǒu zhòng duǎnpiān xiǎoshuō jí “qīqiè chéng qún”,“hóngfěn”,“yīngsù zhī jiā”,“qíbīng”, chángpiān xiǎoshuō “mǐ”,“wǒ de dìwáng shēngyá”,“chéngběi dìdài”,“wǔzétiān” děng. Chénsīhóng zhǔchí zhōnghuá mínzú hūnyīnfǎ, hūnyīn zhìdù shēngjí huàndài 分享此译文 电子邮件 WhatsApp Twitter Google+》有2个想法

  1. 女人好色是花开的一种
    原创 2017-05-29 文图·罗西 罗西有意思

    女人好色是花开的一种
    文图·罗西
    有句俏皮话说,日本A片毁了中国男人,韩剧则毁了中国女人。
    韩剧就是女人的A片,因为韩剧里有中国女生喜欢的男星,往往清秀里,带点“型”。前不久,韩国新总统的保镖因为太帅抢了总统的风头,他只好知趣地辞了工作。蓝颜也祸水。
    当下,男色横行。长得美长得帅的,就是生产力。盛世,男色才有市场,党媒应该会喜欢我这句马屁话。
    女人起了色心,那是要你命的。其实女人好色,是本色。《西游记》就是艳遇记,一路都围绕吃唐僧肉而展开情节,其隐喻就是男色男色男色。
    女人是一个国家的风向标,当女人爱读书时,这个国家是安宁有礼的;当女人拜金时,这个国家是不安的浮夸的;当女人好色时候,这个国家是有活力的性感的。其实,我们汉文化不缺谋略,缺的正是性感。所以,女性大面积好色,我是乐见其成。身体意识被唤醒,就是生命被讴歌。常常有这样的新闻,某女在街上惊鸿一瞥捕捉到一路人帅哥,赶紧拍照,常常是侧影、背影,甚至只是一段美腿,然后发微博问:“我迷上了这个帅哥,如图,麻烦大家帮忙找……”花痴遍地,女人反搭讪男人更是轰轰烈烈花枝乱颤,有个女孩就常常拿着一张百元钞票追着自己觉得有眼缘的帅哥:“请问,这是你掉的吗?”她好可爱,很有豪放派宋词的味道,好想她来搭讪。
    远古的时候,男人血雨腥风里打猎,疏于美学进化;而女性则基本与植物、花果打交道,所以更有审美追求。女性的好色泛着主旋律的光芒,更高端、更有神性。男人的好色,偏于花心、肉体,甚至旧拘泥于尺寸,三围。女人的好色,重于情怀、精神。好色于女性是一种审美需求与修养,即便有个所谓“世界男性生殖器大小的分布图”,她们只是一笑而过,即便韩国被认为是最小的,但是,这又怎样,如贝克汉姆自我解嘲一样:雅何须大!最重要的是,好色的女孩并不在乎这些男人玩的尺寸、数据,男人是没有进化好的女人,女性不关心那些肉低层次的色,她们玩高级的,比如年轻的病皇帝在御花园吐一口血,比如逆光里的男人眯着眼的长睫毛,比如穿风衣的高个子男子在风雪中不停跳着取暖等人,比如一个身上纹一条青龙的粗壮男子抱着女儿在医院排队取药……
    是的,她们讲究品位,有个人品位,有的喜欢禁欲系的,如杨洋吴磊鹿晗,有的喜欢有型又肌肉的,如彭于晏张继科宁泽涛郑恺,有的喜欢暖男,如胡歌王凯赵又廷张亮,有的喜欢优雅大叔,如张嘉译吴秀波,有的喜欢粗犷硬汉的,如姜文廖凡,有的喜欢害羞的,比如梁朝伟周杰伦吴亦凡冯德伦,有的喜欢略坏又多情的,比如最近热门的“包总”……
    是的,女性喜欢的花色品种较多。口味越细分、越丰富,说明其进化程度越高。
    让人不解或者让社会学家感兴趣的是,为什么硬汉的受众越来越小,大部分女孩更倾心于花样美男,这股风潮在演艺圈的八卦新闻里,最直接的表现,就是姐弟恋……剧作家六六女士也发现韩剧《来自星星的你》里有姐弟恋的影子,“全智贤看起来明显比金秀贤大好多。姐弟恋。”这也从另外一个侧面反映当下女性好色的积极性,是一种内心强大的喜欢。弱者是不敢好色的。
    花样美男里有个著名的分支,即单眼皮花美男,单眼皮似乎更有“男性性征”,所以更有味道,加上大部分性格偏闷骚,而渐渐豪放起来的姐姐们对他们就有强烈的探索、把玩欲望。着一袭洁白干净的衬衫、一条黑色的领带随意地绑了个结挂在胸前,双手自然地插在裤子里……坚毅好看的轮廓,两片薄薄的嘴唇轻轻抿着,小眼睛里是闪烁的小羞怯,混杂着“想干点什么”的小坏……这是我一个女性朋友描绘的单眼皮小鲜肉的“死样”。
    好色是健康的表现,如小麦色,是天性率真与解放。好色,其实也是豁达、洒脱,用王菲的话说,“反正男人都花,还不如找个帅的”!我突然想到武则天,她是古时一个罕见的没有性别焦虑的女人,因为她可以而且懂得好色。作为中华帝国唯一的女皇帝,她色心与野心并举。有必要摘几个句子来歌颂这位色女王:“年轻的时候,这个女人荆钗布裙、缁衣光头,依旧不掩国色。”一个大唐皇帝,放着满屋子的绝色美女不要,偏要去尼姑庵和她相爱,“武媚娘的杰出成就还不在美貌,而在她的不屈意志:在别的女尼早就自暴自弃,开始以自慰和做Les了此残生的时候,她每天早起,收拾庭园,挑水养花,生机盎然。”野心,色心,让她的面孔熠熠生辉。
    是的,女人好色,是本色,是心气,是花开的一种,是听见花开的声音。
    下图是专属苹果手机用户赞赏的微信支付二维码,若有打赏,请在留言处附上你的大名,感谢有你!

    罗西:专栏作家,《创业天下》杂志执行主编,在《新民晚报》等全国50多家报刊写过专栏。个人专著有《性感是另一种高贵》《你生命中的贵人往往是异性》等30多部。
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  2. 英语
    Wives are in groups

    novella
    “Wives and concubines are” in the group of novels. This work by describing a “new era of education,” the female students Song Lian, voluntarily marry into the high wall of the orderly feudal family Chen Fu, and ultimately in the “wives and daughters” fascinated by the tragic fate of the collapse of the spirit , Artfully reproduce the Chinese feudal ethical code devour the horror of human nature.
    “Wives and concubines” has been adapted into a number of film and television works, directed by Zhang Yimou “red lanterns high” is one of them.
    Title
    Wives are in groups
    Creation time
    Before and after 1990
    Literary genre
    novella

    The number of words
    45 thousand words
    First edition time
    1991 years
    Books and movies are called the classic 20 great works!

    Have you seen the works of Zhang Yimou’s director?
    brief introduction
    Wife and concubine era background is China’s 1920s battle of the Northern Warlords to the first time between the Kuomintang civil war on the eve of several years. 19-year-old Song Lian, his father died in the home after the fall, was forced to marry a rich family Chen family for four ladies, as the family of the fourth hostess. When she was married to this wealthy house, she was treated like a royal family, receiving a comfortable hammer, and when her husband, the master of the mansion, stayed in her room at night and hung with a red lantern. However, Song Lian quickly found that not all the ladies can accept the same luxury treatment. In fact, is the owner every day to decide which night in the room of his wife, in which room before the lanterns, enjoy the foot massage, so that the wife decided to let her get the servants of respect and service. Here the competition continues, four ladies continue to compete for her husband’s attention and feelings, although the big wife’s competition is not so much. In the end, the three ladies Mei Shan died, four wife Song Lin crazy, two wife Zhuo Yun thought it was “invited pet” the final victory of the war, not knowing the emergence of five wits, directly destroyed her wonderful abacus. Only the big wife Yu Ru, she began to choose to escape the reality to read the letter Buddha, status has been stable and unshakable.

    Wives are in groups
    Creative background
    “Wives and concubines,” the amazing thing is the fine characterization of this old life, this emotionalism easily brewing poetic, so that they silently reveal a near the decadent lyrical state of mind. And this mentality is largely derived from the author’s childhood life and memory.
    Childhood memories have at least three meanings for the author. First, the author tries to explore the root of the self-female complex from the narrative of childhood. “Root-seeking literature” clearly marked the author’s growth as a “cultural revolution” after the generation is a rootless generation, their past and history is an embarrassing existence, or that they can not pass the conventional narrative to express So the childhood narrative becomes another way, and in this way it is easy for the author to pick up the memory and seek the root of the source. Second, the perspective of childhood can strengthen the author’s text perspective. In this perspective, even adults are full of bloody events also transformed into a game, interesting, although not close to the concept but may be hyperopia phenomenon, and the objective effect may be because of this contrast and irony and even more perverse , Violent and cruel. That time because of this kind of digging become rich and colorful, and childhood those who are good or bad or impressed by the mother of children who naturally become the object of reproduction of Su Tong novels and Su Tong himself to study the object. Third, Su Tong’s works imply a growing theme, many works with rituals and memorials means that for the passing of life to sing a different melody of the elegy. Childhood is now a growing process, and his understanding of women is also in the process of its growth to build up, so he must go to find the source of this growth, the source of this thinking.

    Main character
    Songlai
    There is a wealthy family, and the father runs a factory with the ability to go to college and receive the best education. However, there are unexpected circumstances, the father suicide after the collapse of the factory, stepmother to let the lotus in the work and marry between the choice, Song Lian chose to marry, and is married to the rich concubine. At this time the song of the lotus is beyond the age of calm and reality, she has never suffered, so for their own choice of a material in the road to prosperity. However, she is still mature but 19-year-old female students, before entering the real Chen, she can not imagine how the war between women how tragic. And once the entry will never succeed, she can only participate, or perish. Song Lian in this a bloody woman in the war is always at a disadvantage: just entered the Chen when the servant guessed for Chen’s poor relatives, and then suffered a big wife Yu Ru’s disregard, two wife Zhuo Yun’s hypocrisy, three wife Mei Shan Of the blatant provocation, even the maidservants goose are secretly behind the bad. There is no friend in this war, only the enemy, everyone alone, only to snatch the only victory fruit – Chen Zuoqian’s favor. [3]
    Meishan
    Chen Zuoqian’s three aunt too. She is a hero than the protagonist more distinctive personality. Meishan, even the birthplace of their own do not know the opera, there is a “beautiful exquisite” face, it is a dare to drive on all the people, do whatever they want, dare not woman, is this woman Had to jump to Chen Zuoqian’s head. But also her in Chen, Chung’s wedding early night, abruptly Chen will take away. She did not like to dare to criticize Chen’s ancestors eight generations. She dare to Chen declaration, “five days less than me, I will find partners”, even so she still carrying Chen and “doctors” pass. Right and wrong, she can be on the big wife Yuru disrespect, but also hire people to play two wife Zhuo Yun children. She said to you, “If you are with someone else nonsense, I’ll tear your mouth, and I’m not afraid of you, and I am not afraid of anyone, who wants to stop me.” Was Zhuo cloud after the rape, she “eyes blatantly open, scolded dragging her every person.She scolded Zhuo Yun said I was alive you want to cut your knife knife to dig your heart to feed the dog to eat. A dare to dare to hate, dare to dare to dry woman, in the “male respectable woman”, “three classes five permanent” dominated the feudal society, can be regarded as a “odd woman”. However, too much desire to swell. Let her life flower bloom too hasty, it will naturally shorten the course of her life. [4]
    Chen Zuoqian
    He was a typical man in the feudal society of China. Chen Zuoqian fifty hanging time to marry the mourning lotus for four aunt, Song Lin crazy after marrying five aunt, the first three house concubine who left him a heir. Can be described as concubine groups, children around the knee. As a man, has money, right (at home he undoubtedly has the supreme right), female color, the desire of the child he has realized. However, the full realization of the desire is a serious threat to his life: Chen Zuoqian fifty years old when thin as “crane”, the body has long been three concubines “hollowed out”, and ” a bit overwhelmed embarrassment ” . [4]
    Listen to listen to speech
    Main point
    Su Tong to calm and almost white handwriting for the reader to draw a very sad woman living world. They are a group of humble and poor people, their fate as the candle in the wind, the water of the Ping, always have been swallowed, the danger of being submerged. Feudal ethical education, male-dominated oppression, is caused by the tragic fate of women is extremely important and can not shirk the factors. However, the problem of women themselves can not be ignored. At some point, the harm to women has not only social problems, traditional problems, but the people themselves, women themselves.
    In the “wives”, the Soviet Union to seize a very deep theme: women agree with each other after the male culture hurt each other’s reality, so the more the outcome of the woman’s miserable, the more sad, the more strongly hit the reader’s mind The These women, whether wives, prostitutes or mistresses, they have a strong sense of personal attachment, it is this “innate” attachment to make women in a no choice. And is attached to the subject – the male momentary likes and dislikes often make women face the loss of dependent crisis.
    The story of “polygamy” in the history of Chinese literature and the theme of “the roots” in the “wife and concubine” also got a new interpretation and interpretation. Works from the young, the spirit of the spirit, the culture of the lotus into the palace of the palace to write, to the song of the lotus, the five wives into the door of the house of bamboo leaves stopped, touched the new cultural movement since the Chinese literature is not uncommon feudal family system And the theme of male culture center “eat”. But the author did not use the main ink for the complaint that the woman never climbed the head of the man’s feudal parents Chen Zuoqian’s immolation and shamelessness, but through the description of the tragic fate of the song, focusing on the performance of five women in order to own Tied to a man’s neck and strangled each other. “Polygamy” family structure left them is a very narrow, suffocating living space, struggle to fight the law will become their own living space to expand the only and the necessary choice. Every woman’s fight is a threat to the survival and breathing of other women, which is enough to make them enemies to each other. [5]
    Artistic characteristics
    Su Tong in this article changed the first person of the narrative perspective, the use of third person, it is more objective, no matter how the evolution of the plot, he always hiding behind the text, without feelings of narrative, but let the reader feel that share True cruelty. In the description of the character, the author abandons the traditional perspective – he did not stand at a certain angle, in many people in a character to praise or give sympathy to establish in line with their aesthetic ideal heroine.
    In the specific writing, “wives and concubines” of the layout or plot structure with a classical gesture, a bit like “Dream of Red Mansions”, “Golden Lotus” and other classical novels reproduction. Secondly, Su Tong’s novel is always filled with a decadent sense, whether it is human nature or the relationship between people, he tried to “decadent” aesthetic point of view to show. In such a story about four women and a man in the old story, Su Tong slowly captured the “sexual and sexual direct very ‘sticky’ collusion and entanglement,” to explore the relationship between people. He seems to be in the performance of the feudal old family of decay, the essence is to express by the evil, death, desire and other forms of human decadence, which reflects the decadence of the entire history.
    From the beauty of the works in terms of words, Su Tong with a little old style of the feelings of the people, given the “wives and concubines” classical beauty: nostalgic, beautiful, decadent, wounded autumn autumn. The text is very delicate and beautiful, full of melancholy as the same charm.
    In the “wives and wanches”, the Soviet Union with the flow of language describes a rich image, these images contain a profound metaphor, creating a decadent mysterious atmosphere. These images not only help Su Tong in the novel to create a desolate hidden resentment of the atmosphere, but also constitute a deep narrative narrative power. Chen’s backyard is an image of the concentration, is the background of the novel and the stage of the scene, it is a symbol of the psychological structure of the characters, where the dry well, wisteria and Begonia and even Mei Shan singing opera, bear a very important narrative Features.
    “Wives and concubines” in the language to maintain the Soviet Union has always been the style. The first is like Suzhou Silk-like language: soft and elegant, strange color, strong stretch. Second, Su Tong has excellent language driving force, he will subvert the language of the collocation and break up the reorganization, resulting in language unfamiliarization, giving the language fresh charm, so as to bring readers to read the freshness and broad imagination.
    Works influence
    Before 1990, Su Tong’s novel “Wives and Concubines” published in the “harvest” on the publication. Once the novel is published, it is immediately reproduced by other literary journals. Zhang Yimou in the introduction of others under the Su Tong’s work, immediately initiation of the film to shoot it inspiration. So he called Su Tong, asked to buy copyright. In 1991, by Gong Li starred in the movie “red lanterns high” baked, won the 48th Venice Film Festival Award. Finally, the Oscar-like awards, although the results are not satisfactory, but the Chinese film industry and the literary world gave a sort of “shock” a bit. Fans from the “red lanterns hanging high” and know “wives and concubines”, and finally obsessed with writing a novel Su Tong.

    Since the success of Zhang Yimou’s film “Red Lantern High” after the success of Su Tong’s “wife concubine group” has also been adapted into a TV series, such as: 1992, Taiwan’s Huayi launched Chen Yulian starred in the TV series “red lanterns high”, 2011 Liu Xiaoqing starred in the mainland TV series “red lanterns high hanging”, 2012 Tian Hairong starred in the “lantern city”, Thai drama “orange crown” and so on.

    Related version
    Publication Time Name Press
    1991.11
    Wives and concubines
    Huacheng Publishing House
    Including “wives and concubines” and other six novels
    1992.11
    Hotspot novel selection of wives and wanches
    Changjiang Literature and Art Publishing House
    Contains the “wives and daughters” and other four novels
    1993.02
    New History Novels
    Zhejiang Literature and Art Publishing House
    Including “wives and daughters” and other 10 short stories
    1993.03
    Gong Li Zhang Yimou ‘s Film Masterpiece and Novel
    Zhongyuan Peasant Press
    The novel “Wives and concubines” are included
    1993.04
    Su Tong novels fine
    Southwest Normal University Press
    Including “wives and concubines” and other five novels
    2000
    Wives and concubines
    Times Literature and Art Publishing House
    Including the “wives and daughters” and other eight short stories
    2000.06
    Wives and concubines
    Taiwan Publishing House
    Including “wives and concubines” and other five novels
    2000.09
    Women’s Paradise
    Zhejiang Literature and Art Publishing House
    Contains the “wives and daughters” and other four novels
    2002.05
    Su Tong on behalf of the wife and concubines
    Spring Literature and Art Publishing House
    Including “wives and concubines” and other 10 representative
    2002.11
    Wives and concubines
    Yunnan People ‘s Publishing House
    Including “wives and daughters” and other nine short stories
    2004.08
    Wives and concubines
    Ancient Wu Xuan Publishing House
    Contains the “wives and daughters” and other four novels
    2009.04
    Su Tong selected her wife and concubines
    Beijing Yanshan Publishing House
    Included “wives and concubines” and so on
    2010.03
    Wives and concubines
    Shanghai Literature and Art Publishing House
    Contains the “wives and daughters” and other four novels
    2011.03
    Marriage scene
    Chongqing University Press
    Included “wives and concubines” and so on
    2013.08
    Chinese novels
    Huacheng Publishing House
    Included “wives and concubines” and so on
    Put away
    About the Author
    Su Tong (1963-), formerly known as Tong Zhonggui, Jiangsu Suzhou, contemporary famous writer. In 1980, he was admitted to the Chinese Department of Beijing Normal University. In 1983, he began to write and publish his works. After 1984, he was the editor of “Zhong Shan”. Written in the autumn and winter of 1986, “1934 years of escape” for its first novella. Has been published works of more than 100 million words, mainly in short stories set “wife concubine group”, “red powder”, “poppy house”, “cavalry”, novel “rice”, “my emperor career”, ” “,” Wu Zetian “and so on.

    Chen Sihong presided over the Chinese nation marriage law, marriage system upgrade
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