The Social Reasons for the Creation of Crying Marriage Songs

The content and significance of the Song of Crying for Marriage (1) remembers and appreciates the grace of parental upbringing, and expresses the difficult feelings of parting with relatives. A girl who wants to get married has to leave her parents who raised her and her brothers and sisters-in-law who have been with her all the time, marking that she has to embark on a fresh and unfamiliar life and that she has become an adult, so it is very natural that she remembers her parents' hard work in raising her and has the feeling that it is hard for her to part with them. And this kind of leaving parents to start a new life, but also make the new bride feel scared, worried. Therefore, her feelings are very complex, in the "crying parents" as sobbing recounted the difficulties of parental upbringing: ...... in the mother's arms for three years roll, hair white many roots.　　The green cloth skirt came with a white waistband and carried me over many hills and valleys.　　The cloth skirt from long to short, this mountain back to that mountain turn.　　I was afraid that my daughter wouldn't have enough to eat and that she would suffer from wind and cold.　　I was so worried about the dowry because my daughter was born into the wrong destiny.　　Crying for her father cuts her guts, crying for her mother pierces her heart.　　I thought my parents would be reunited, but I didn't realize that I would be separated today.　　Daughter's sobbing, naturally surging mother-daughter bond, caused the mother's sadness, but the daughter's marriage is after all a happy event, but also parents raised adult wish, so the mother sang "persuade the female" song: Mo shed tears ah Mo cold heart, daughter sadness pain began to kiss, the mother's home is not a long time to stay in the ground, sooner or later is to go out, the world to do the same, the world is not you, the emperor's adopted daughter recruited extra horse harnessed by the side of a team, the official family with the young lady to be married, the family and the world, the emperor is the same. The emperor's daughter is a prince's son, the official's daughter is married, the family is established and the world is a world, and the ancient rituals of the imperial dynasty have flourished, and the daughter has to step on the heels of her mother who has taken this path.　　You should be filial in front of your in-laws, and answer in a low voice when you shout.　　Be obedient to your brothers and sisters, and be close to your neighbors.　　Remember your mother's words and rest assured.　　It is also hard to part with her brother and sister-in-law, and the bride cries out her feelings and wishes to them, reflecting the depth of her affection: My brother, my sister-in-law, your sister's fate is bad, she grew up together in front of her father and mother, but today she is going to be separated.　　My brother and sister-in-law, your sister's fate is bad. We grew up together in front of our parents, but today we are parting.　　My sister has become a guest in a faraway country and cannot do what she wants to do. If my father and mother are sick or in pain, I will rely on my brother and sister-in-law to take care of them; I will greet them in the morning and greet them in the evening, and I will do a lot of work on behalf of my sister; I will cut firewood for my sister on the mountain; I will pick water from the well for my sister; I will do my laundry for my sister on a cold day; and I will make tea for my sister in the daytime.　　(ii) After entering the feudal period, the tone of the songs gradually changed into an expression of dissatisfaction with the feudal marriage system, showing a strong accusation. The low status of the Tujia folk women, who were powerless to fight in front of the feudal forces, only utilized the legitimate opportunity of crying marriage to accuse and curse. Matchmaker, is one of the objects of the curse of the weeping marriage. Matchmaker is the matchmaker, but also the tragedy of the facilitator, is a representative of the power. In the whole process of crying marriage, the matchmaker appears as the antagonist of the new bride.　The daughter is married off from another family, but today she is not convinced, and she hates the matchmaker's poisonous heart, and she is greedy for fish and meat.　　The black-haired crow is calling every day, but it is not enough for people to die without calling.　　The second complaint is that my parents are too thick-skinned and listen only to the matchmaker's talk of advantages, and that they don't send their daughter to the family house without looking at their son.　　The third complaint is that her brother does not make decisions, ignoring her sister's flesh and blood, and that she does not plant flowers in a sunny place, but only in sandstone backed by shady soil.　　Here, the newly-married woman complains about her parents' confusion and hates the matchmaker's clever tongue. Some of the weeping marriage songs "scold the matchmaker" to the matchmaker's rebuke blunt and harsh words: matchmaker ah matchmaker, every day to my home to sit, sit narrow my house, sit low my threshold.　　...... A matchmaker is a dog, a dog that eats at both ends; a matchmaker is a pig, a pig that eats at this end and at that end; ...... You go to his house to have a meal, saying that there are tens of thousands of dollars in his house; you go to his house to have a cup of tea, saying that his house is in the process of being issued; ... ... You go to his home to smoke a bag of cigarettes, said his son to be an official; the matchmaker reads a lot of scriptures, not afraid of two days of rotten tongue, the matchmaker in order to set up a marriage, flowery language, all around the lobbying. "Cursing the matchmaker" on its profit-oriented, insatiable ugliness, exposed the most vividly, into the wood.　　(c) In feudal society, not only is the class full of sharp contradictions, even among family members, there is also a distinction between inferiority and superiority, the same woman, the rich and the poor have a huge difference. The antagonism between classes, the disparity between rich and poor, and the status of the high and low in the marriage issue is also clearly manifested. The song of weeping for marriage sharply condemns the patriarchal system of male superiority and female inferiority. When the sisters cry to each other, they share the same illness and share the same heart, which is rich in emotion and vividly touching. There is not only the pain of parting, but also a strong protest against the inequality between men and women.　　Bride: If I were a man, I would have a share in all kinds of things in the hall, and I would have a name for writing in the hall of God.　　Sister: Now that I am a woman, the bells in the shrine do not ring, and the drums in the hall do not sound.　　Bride: If I were a man, I would have one of the three fields and one of the three plots of land.　　Sister: Now that I have become a woman, there is not a mound for ten fields, nor a piece for ten pieces of land.　　Bride: If I were a man, brothers would often be together and rejoice.　　Sister: Now that I have become a woman, my sisters will be separated and cry.　　In the feudal patriarchal society, not only was there conflict between classes, but there was also bullying among family members. When a bride marries into her in-laws' home, she is terrified of the harsh feudal patriarchal rule. The bride cried: "My father, my mother, in their house there is a knife to kill and a pot to cook meat, and when they serve the old ones, their eyebrows are raised and their faces are crossed; when they serve the young ones, their chopsticks are flung and their bowls are thrown away.　　I stepped on people's feet and pinched them in their hands; my feet stepped on them like mud, and my hands pinched them into ashes. ...... The scene of "crying brother and sister-in-law" truly reflects that the encounters and statuses of women of different classes are very different, and the real persecutors are the majority of the laboring women. When the sister-in-law advised her sister that "a government lady has to go out to her daughter, and even the daughter of the God of Heaven comes down to earth", the sister immediately retorted: "How can a small dustpan be compared to the blue sky? How can a poor woman compare to a fairy? The lady of the official family is in charge of her daughter, and the daughter of the emperor of heaven is the king of the world. When I go to someone's house, there is only a bowl made from a pillar, and the mouth of the bowl is as big as the sky.　　If the content of crying in "Crying for Brother and Sister-in-Law" expresses women's pain and injustice, then in "Crying for Eyebrows" and "Crying for Sedan Chair", there is a clear outburst of women's voices of resistance. I'm not a servant, I won't be a maid; I won't comb my hair, I won't pull my eyebrows; I won't bow my head, I won't bow my hands.　　When her brother put the bride on the sedan chair, she struggled and cried out, to "become a bird flying down to the rock, become a small fish swimming down to the sea". This is the women's voice of rebellion, but also the expression of the spirit of resistance.　　In each of the weeping marriages, the bride dares to face the reality and speaks out, bluntly attacking the feudal ethics and morals and denying the feudal marriage system, which is a kind of catharsis for women, which is really rare in the era when the feudal power dominated the world. This is precisely where the glittering idea of "Crying for Marriage Song" lies, and it is the fundamental reason why the majority of Tujia women love "Crying for Marriage Song".　　Third, the art of Crying Marriage Song Crying Marriage Song is an excellent lyric poem with strong Tujia flavor, which is the crystallization of the collective wisdom of Tujia women over the past thousands of years, and it is a Tujia literary style with great national characteristics. In the whole history of Tujia literature, the Song of Wailing Marriage is a brilliant chapter with high value. It can be said that if you don't understand the Crying Marriage Song, you can't really understand the Tujia literature.　　"The ideology and art, content and form of the Song of Weeping Marriage have reached a harmonious unity, and it has a high artistic achievement. Its content is huge, the program is complex, it is in the reproduction of the Tujia people's delicate wedding process, the expression of the vast majority of women's changing thoughts and feelings, so in the form of expression, according to the needs of the content, a break in the four lines of seven traditional folk songs, and produced a non-poetry, non-words, a combination of spoken and written, folk songs and a combination of long and short verses of the free verse style. This style of poetry is flexible, varying in length, more repetitive language, more repetitive tone, do not pay attention to rhyme, but the rhythm is clear, read lively, resonant. For example, their parents' mouths are honeycomb mouths, and their parents' hearts are bitter gourd hearts.　　Their mouths are like beeswax, their hearts are like bitter melon hearts.　　They call their mouths daughters-in-law, but their hearts are little maids; they treat their mouths as daughters-in-law, but their hearts are little lackeys.　　This kind of vulgar and concise, free and clear way of expression portrays the in-laws' biased behavior towards their daughters-in-law vividly.　　The "Crying for Marriage Song" has successfully portrayed the artistic image of a typical married girl. As the song accommodates a wide range of social content, the girls are not bound by the constraints when they cry and sing, boldly expressing their personalities and freely expressing their feelings. Therefore, the bride's own life of love and hate, resentment and anger, sadness and indignation of all kinds of complex feelings intertwined with each other, fully exposed, and through her grief, contemplation, anger and shouting, to see the inner world of a married girl, but also to see an unwilling to be humiliated and dare to resist the distinctive image of women.　　Fourth, the historical value of the Song of the Weeping Marriage The Song of the Weeping Marriage also has its great historical value. It comprehensively records the process of Tujia marriage customs and preserves for us an image of the history of Tujia marriage customs. It directly contributes to the study of the social evolution of the Tujia people, the development of marriage customs, and the psychological quality of women. In addition, it can also provide valuable information for the study of Tujia songs, language, religious beliefs, Tujia-Chinese cultural exchanges, and can help us understand the psychological process of Tujia women at different historical stages.