(1) Women in Cao Yu's works always have a peculiar dominant power.

(2) The female images in Cao Yu's plays are like hymns of youth, full of romanticism but lacking realism.

(3) Sacrifice spirit, bravely pursue freedom, desire and love, and publicize will and personality.

Now analyze these three points in detail.

Women in Cao Yu's works always have a peculiar dominant power. They are free to decide their own life and death, and at the same time dominate the development trend of the story. Although they are members of the "closed world" like men, they can always fight bravely and refuse to succumb to the mysterious tricks of heaven. Men, on the other hand, are self-anesthetized: or, for example, Zhou Ping turned to unbalanced love many times and tried to escape from the "dark deep well" with the help of women's powerful strength; Or Qiu Hu struggled in the nightmare of revenge and counter-revenge, unable to escape from the "black forest" symbolizing the mental prison; For example, I have completely lost my desire to survive in the deception of self-deception again and again, and personally broke my "empty shell of life". Women's perseverance in the face of life difficulties endows women with a sense of beauty. Similar to men, they are also trapped in the situation of being teased, teased and destroyed by God, but they bravely fight and try to protect themselves while helping others. This adds a lot of personality beauty and human beauty to female characters. In contrast, men become vulnerable.

The three women in Thunderstorm belong to three generations. The most touching thing about Shi Ping in her later years is not her hard and dignified efforts to survive after being abandoned, but her powerful resistance to fate behind her seemingly submissive face. After learning about Zhou Ping's incestuous love affair with Sifeng, she made an amazing decision: let the ignorant brother and sister lovers fly away and bear the punishment of possible fate alone. In fact, Cao Yu has given Shi Ping the ability to decide the fate of other characters. Assuming that the plot develops along this line, the conceivable ending is: the combination of Ping and Sifeng; Shi Ping lived in seclusion again and spent the rest of his life alone in the face of his inner moral sense and ethics. The men and women in Zhou Mansion continued their lives in a strange strange bedfellows. This is a possibility of plot development. At that time, this development logic may be trapped in the author's criticism of the great society and morality (although we can smell a strange but exciting smell from this clue, which is contrary to the ethical concept and obviously has no hope of survival). It is not the seemingly owner who destroys this clue, but the same oppressed people in the Zhou government. Fan Yi is the destroyer of all the balances in the play, and her pursuit of her stepson makes everyone in the play fall into despair. Her "chasing" action is the fundamental driving force for the development of the story. I noticed that in the text of Thunderstorm, Cao Yu once compared Zhou Ping to "a weak grass", and the image of "grass" coincides with the last straw (the last straw) in western proverbs, suggesting that the writer regards Zhou Ping as a prop for women and puts women at the center and center of gravity of the play. At the same time, the writer endows Fan Yi and Shi Ping with the same ability to decide the direction of the story, and the plot at the end of the work seems to be the competition between these two equally magical women. In escape and death, Cao Yu chose the latter. In fact, his basic ideas are still put forward in moral adventure and observing ethical norms. At the end of the work, Zhou Puyuan relies on her religious conversion, while the two heroines are crazy again and live in a two-story building. This kind of "madness" makes them not have to face the social and their own moral questions, but also can hide the great destructive power hidden in their lives; In short, they have not lost their strength because of death, weakness and old age. We can realize this from the complicated "crazy" action at the end.

Jiao Mu and Hua Jin, two women in Yuan Ye, continue the setting pattern of female images in Thunderstorm. Yuan Ye tells a story of revenge and escape. It seems to revolve around a series of actions that the hero hates tigers, but in fact it is the female characters who control the axis of the story. The work originated from the revenge of the autumn tiger, with a series of preparations and practical actions in the middle, and the ending was that it could not escape after revenge. However, both Jiao Da, who is weak and kind, and Qiu Tiger, who is brave and heartless, still lack the power to decide their own destiny. In the play, the star is a chess piece between mother-in-law and daughter-in-law, and it is a tool for autumn tiger to take revenge on Wang and his wife. This role not only lacks the value and significance of its own independent existence, but also cannot determine the development of the plot. Qiu Hu is a role that is often misunderstood. His image of revenge as a flame and his image of anti-revenge as a scorching mother give the play a strange balanced tone. On the surface, the whole work is a life-and-death contest between him and Jiao Mu. In fact, he was never the master of his own existence. His revenge was due to the family mission he had to undertake, because the family persecuted by King Jiao Yan was destroyed. In his actions, he felt everywhere that Jiao's mother was cruel, cruel enough to kill him, and he had to figure out what to do. After revenge, he finally chose to die because he couldn't get out of his prison. In fact, he is a heartless "God", a decent victim, and Jiao's mother is the one who sacrificed with a butcher knife. The heroic portrayal of Qiu Hu's image in the play is just in contrast to Jiao Mu's old and blind image: the disappearance of energetic and strong individuals reflects the more surging vitality in female images. At the same time, the play also describes in detail the hesitation and confusion about the tiger's revenge action, as well as the decisiveness and calmness of Jiao Mu's anti-revenge action, which also shows the dominant position contained in the female image. At the end of the work, Qiu Hu, the avenger, died, but all the insiders, supporters and even participants of his revenge action spent all the gold, but fled to the place where it was laid. Is it because of women's perseverance in the face of survival difficulties that they succeed, or does the writer mean something else?

The female images in Cao Yu's plays are strong, while the male images are weak and pale. It can also be seen in two other works, Sunrise and Peking Man. Under this transcendental setting mode, he always gives women surging passion for life, and the works he produces are the most touching and inspiring life poems. But at the same time, it is at the expense of weakening the strength and depth of male image. It is difficult for us to experience the pleasure of confrontation between the two peaks in Cao Yu's works. At most, it's just the loneliness and emptiness of women riding the dust.

The female images in Cao Yu's plays are like hymns of youth, full of romanticism, but lacking realism. The lack of rational power is the fundamental reason why these female images become facebook. What drives the characters in Cao Yu's works is obviously not rational thinking, but a passion or desire. We seldom see Cao Yu describing their inner contradictions and conflicts, such as the long monologues when the characters are in a dilemma, which may help the characters to dig deeper; Another example is the ambivalence of the role before the action. However, they are always so indomitable that they choose their own way of life and decide their own destiny and future with some impulse and intuition. In addition, the female images under the care of Cao Yu's "narrow male perspective" were born in the text in response to the psychological needs of narcissism and self-help of modern men in China, but they did not bear too many real life experiences of women and did not gain the dominant position of women as human beings. They are only props to save themselves in the process of male enlightenment and revolution, and they are a group of lifeless puppet characters in the shadow of the writer's patriarchal consciousness. "

Women in Cao Yu's works can be roughly divided into two series. One is self-sacrifice. Some critics call it the "female angel" image, represented by Sifeng, Shi Ping, Su Fang, Jui-chueh and Feng Ming. "The ideal women in the minds of this kind of male writers combine the two kinds of ideal women separated from" beauty "and" mother "in China's male literature tradition, eliminate the dusty atmosphere of" beauty "and the asexual characteristics of" mother ",and become the angel of suffering combining beauty and love, the ideal lover in men's minds, which is closer to the angel women in the western male literature tradition in blood." The sacrifice behavior of such women seems to come from instinct. The work neither describes their hesitation before the sacrifice action, nor their hesitation in the action, nor their regret after the action. Similarly, we can't find the value and significance worthy of their sacrifice from male characters. For example, Su Fang's love for Zeng in Peking Man is a meaningless sacrifice. She knew that she was just an "empty shell of life", lazy and cowardly, and evaded the responsibility that life should bear, but she was still willing to stay at Zeng's house like a death row, and even made such an affectionate confession: "I can serve his parents, take care of his children, take care of his calligraphy and painting, and feed his pigeons." Even people he doesn't like should be considerate, like and love, because ... because he doesn't love, so I have been close to him! "After reading this paragraph, I believe many people will ask the same question:" Is it worth it? "The love between two hearts and two similar people is undoubtedly very touching; However, Su Fang's love for Zeng is so unreliable because of her petty and pale male image, such as passive water. Questioning the falsity of this kind of love also awakens us to question the authenticity of Fang Lu's image, and then leads us to question the stability of the whole plot structure of Peking Man. Like a castle in the air, this story based on illusory love is in danger of collapse.

Another type of women in Cao Yu's plays are self-seeking images represented by Fan Yi, Joaquin and Chen Bailu. If the image of the former comes from traditional literature, the latter is the manifestation of the spirit of the May 4th Movement. This kind of women bravely pursue freedom, desire and love, publicize their will and show their individuality. However, in shaping their images, the lack of rationality has also caused fatal scars on the characters, making them look flat and not full enough. Taking Fan Yi as an example, the author sets three social roles for her: mother, wife and lover. The coincidence of these three identities endows the role with an innate profundity. Therefore, we are looking forward to seeing the inner struggle of the character, seeing the cruelty and profundity of a woman's self-struggle, and seeing the complexity of human nature displayed by various identities when she is faced with a choice ... But unfortunately, the lack of rationality can't make the character conduct soul introspection and introspection after all. What we can see is how she can easily cross all the inner obstacles like a gap: falling into incestuous love with her stepson, abandoning her husband and son. ...

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