Answer: 1' s consciousness of personal attachment should be said that the outstanding performance of the root of female tragedy in the text is the consciousness of personal attachment. Most women in Su Tong's novels have similar survival consciousness. They have great personalities, but they can never get rid of men. The pursuit and attachment to men seems to be the driving force of every woman's life and the goal of their struggle. We can see that Song Lian in Wives and Concubines is an educated woman, but even such an intellectual woman is backward at home. She has chosen the road of being a concubine for a rich family without hesitation. Entering the Chen family, she tried to restrain her anger against Yan 'er and fought with Meishan and Zhuo Yun, because she clearly realized that what she needed to do most was to please Chen Zuoqian, and she endured it. Although the final result backfired, we still saw that her only conscious consciousness and action in the Chen family was to attach to and please Master Chen. [1] The fairy in a woman's life, at the moment when Boss Meng stepped into the photo studio, "she seemed to have a premonition that the appearance of Boss Meng would change her future life". From the beginning, she pinned her future life on an unknown man. In her opinion, the tragedy of being abandoned at last was only because Boss Meng got her pregnant by mistake, and she was afraid of abortion for fear of pain. Because of Meng's injury, she hated all men in the world, and her weakness forced her to take refuge in men. The daughter's psychological inexplicable doubt about her husband due to physiological reasons (infertility) aggravated her anxiety about the relationship between the two couples. In fact, she is a deeper personal attachment: because she is extremely afraid of losing her husband, she shows an almost morbid possessiveness. Xiao strictly controls her husband's economy to achieve the goal of binding him forever. As she said, "Why am I not a man? I don't like women's lives. I look down on women and I look down on myself. " In "Red Pink", after the brothel was banned, Xiaoxie, a former prostitute, refused to reform, and was still infatuated with her former career as a prostitute. Qiu Yi once said to Laopu, "Everything is false. Whether you are good to me or not, I am not flattering. It is also false that they closed Cui Yun Square. I don't believe that men don't like to visit the kiln and drive us away, so the world will be clean? " Brothels have always been a symbolic place where male-centered culture regards women as playthings. Men spend money in brothels, and women make a living by selling their bodies. Even if brothels can be abolished, the legacy and precipitation of that brothel culture in people's hearts cannot be eradicated. Xiao Calyx and Qiu Yi refused to reform, and their infatuation with Liu's career is a good example. 2 Inferiority and inferiority Another important psychological representation of women's attachment consciousness is inferiority and inferiority. For thousands of years, women have been under the shadow of the patriarchal culture of "men are superior to women" and have been firmly imprisoned by this social culture. They have never questioned this culture in their hearts, and should play the role given to them by this culture. For example, Song Lian in Wives and Concubines is a woman with great personality and female self-awareness, but in the Chen family, she only dares not to offend Chen Zuoqian. Moreover, on Chen Zuoqian's 50th birthday, Song Lian's compromise showed her inferiority complex to the fullest, just as she later said in anger, "What is a woman? What is a woman? Just like dogs, cats, goldfish, mice, everything is like, but not like people. " Sadly, however, this is just Song Lian's anger at the moment. She did not reflect, and even embarked on the road of Lin Daojing's resistance. For another example, Xian left the apartment after being abandoned by the boss. "Looking back at the window on the eighth floor, the velvet curtain was still half open. She heard someone crying in the window, and that woman was herself." At this time, the fairy could not bear the bad luck of being abandoned and even wanted to cry silently, and the illusory voice just set off her sadness after her attachment consciousness was frustrated. [2] There is nothing she can do for herself. Everything is in the hands of boss Meng. She fluttered back and forth like a grass with boss Meng's wind. Another example is Xiao Calyx in "Red Pink". He said, "I can't help it, I was born a bitch." After returning from the sack factory, he treated Lao Pu with various attitudes, which led us to examine their hearts under their sentimental posture. Because women have been deprived of the right to speak for a long time, they subconsciously show inferiority and self-pity, and acquiesce that all this is doomed and cannot be changed. Another abnormal reflection of the opposition and attachment consciousness between women is the opposition and even self-harm between women. In Su Tong's works, no matter what role women play, wives or concubines, prostitutes or lovers, as women, they never thought about how to get rid of men, so as to establish their social status and win their freedom and dignity. They are always good at winning men by stabbing their compatriots. They compete for love and love, and fight to the death, even at the expense of their hard-won family and friendship. They are willing to build their happiness on the suffering of other women. In Wives and Concubines, four wives are painfully tied around a man's neck, like four withered wisteria strangling each other in thin air in order to compete for their soil and air. [3] But in the end, both death and madness ended in tragedy. It's a pity that both of them came from bad karma, but they fought to the death for the sake of love. In the end, instead of escaping their tragic fate, they distorted their souls and added pain. Xiao Calyx and Qiu Yi in "Red Pink" used to live alone, but later the complex and sad emotions were mixed with love and friendship, and there was jealousy between them. Finally, driven by alien forces, all love and friendship are trampled under your feet. Xiao Calyx's ruthless betrayal and cold and sharp gaze on Xiao Calyx cast a heavy shadow on the sisterhood of the past. The love between three generations of mothers and daughters in a woman's life was completely destroyed by their mutual curses and resentment. The holes in their inner world come from the complete collapse of good interpersonal relationships. What should be a warm and harmonious mother-daughter relationship is worthless. It's really sad, pitiful and hateful! 4 Dependence on Money As the saying goes, only when women are financially independent can their personality be independent. Few women in Su Tong's novels are financially independent. They are more dependent on money than men. For example, Qiu Yi in Pink Lady thinks that only rich men are the most reliable, and men and money are essentially the same. Therefore, relying on the rich is her goal in life. Moreover, their era has opened the door to women's liberation, but they are nostalgic for their old life and refuse to reform through labor, while Xiao Calyx thinks that the monthly labor remuneration is too little and prostitutes have not earned much. Therefore, I disdain that meager income. Another example is the dialogue between Song Lian and Chen Zuoqian about the relationship between women and money in "Wives and Concubines", which is even more straightforward, just as Chen Zuoqian said: "It should be said that women want to be with rich people." Therefore, the essence of women's attachment to men is their attachment to money. This problem touches the root of women's tragic fate: if women can't be independent economically, she can't be liberated, and the premise of freedom is the independence of economy and personality. [4] Women in Su Tong's novels are mostly attached to men because they have lost their economic resources. They regard men as lifesavers and entrust their lives to men. All kinds of women don't realize that life can only be permanent by self-reliance. Some are aware of this, but she is unwilling to innovate and change. This weakness in women's own humanity is the reflection brought to us by Su Tong's red novels and the deep connotation of women's tragic fate. 5 The limitation of cultural vision Another important factor is the lack of female knowledge and the limitation of cultural vision. The women in Su Tong's novels, except for the incomplete university education, have basically not read any books and received any education. At the same time, they live in a narrow life circle. They don't touch the outside world and accept new ideas, which will inevitably lead to their limited vision and short-sightedness. This is most obvious in the poem wives and concubines. She should be regarded as the woman who reads Su Tong's works the most. Marrying the Chen family as a concubine did not show the knowledge and tolerance that an intellectual woman should have, and she enjoyed herself in the daily contradiction between wives and concubines. Playing coquetry from time to time is to show her rights as an intellectual woman. In her opinion, education should be her respected capital, and she is proud of it. When Philip asked her what books she had, she said she didn't, because books were of no use to her. I think books have never taught her how to compete for favor and how to win a place in the feudal family, so books are useless to her. It should be said that Song Lian is the most likely woman to take the road of resistance, but it is a pity that she broke the road herself. [5] What else can we say? There is also a grumpy conversation between Zhuo Yun's daughter and Song Lian, which seems to show us another situation of fighting between wives and concubines after more than ten years. For such a young girl, their knowledge and culture can only be handed down from the previous generation or influenced by the family environment. Unfortunately, they still accept a terrible and decadent culture. Like their mothers, they use their poor knowledge to calculate and hurt others, let alone let them educate their children. Another example is Xiao Calyx and two prostitutes in "Red Pink". After the brothel was banned, they were still numb and ignorant in the great social change of the heat wave. They didn't realize the dawn of a new life at all. They are still reminiscing about the past and the life they once attached to men. Once there is no attachment, their life will lose its direction. The female culture reflected in Su Tong's novels is undoubtedly gray, without independent character, and attached to the whole male cultural center. We feel more pain and fear. We seem to hear the cry of a tragic soul. [6] The tragedy of this scene leads us to explore its deep cultural significance through the appearance of women's living conditions, and at the same time calls for women's introspection and self-reliance in the center of male-dominated culture, which may be the most meaningful inspiration brought to us by Su Tong's novels. You can choose for yourself.