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　　The Shift of Perspectives in Narration
　　As it was mentioned earlier, by sending a message to shamans, Ding Gu has already obtained strong consciousness in being sympathetic with other married women and been determined to take the day of her death as a rest day. In view of her identity as a wronged spirit, any disobedience (forcing women to work) might incur her serious revenge. After the immediate exposition and her initial power have been stated in the narrator’s tone, the story quickly moves into Ding Gu’s perspective and brings readers some nostalgic emotions. Her first presence by the river establishes an awes-inspiring image that is totally different from her role of a mistreated wife. The quick transition from her demand to her showing up in person like a lady renders her to be inviolable and clear-minded on what she would do at the moment.
　　However, what is unfathomable and awful in this story is, because Ding Gu’s resentment of being tortured to death has been accumulated over ten years and cannot be dissolved, the words she said at the beginning toward the two hooligans is a direct curse, “[If] you are human beings, [I] should make you enter the mud and die; [if] you are ghosts, [I] make you enter the water [and die].” These words probably cause an immediate aversion and fear from men. They might only make a joke without a suggestion of malice; otherwise they would definitely not give up when Ding Gu retreated into the grass. Aside from being inviolable, what makes the resentment of mistreat by the mother-in-law transfer to a mission of punishing men? It is possible that her husband cheated on her and flirted with other women, or that she was offended by men during her life but she could do nothing. Such kind of speculations on the gap of the lines could echo the possible motives of Ding Gu to a degree, and readers can also imagine her intense inner activities when she was flirted again as a spirit. However, a problem rests on what the difference between dying in mud and in water. They definitely would be killed, so it makes less sense to offer them two ways of dying. It could be true that Ding Gu has a specific reason. But since it is neither revealed by the narration or by Ding Gu herself, the confusion distance readers from the character’s point. It seems that Ding Gu’s thoughts are independent from the narrator; therefore readers cannot always find a satisfying resolution in her words which are close to “abracadabra” from a sorceress.
　　参考文献:：
　　[1]The first scene can also be regarded as an individual story that can be divided into much smaller elements with exposition(i.e.,Ding’s background),specifier,process,and outcome;but compared to the whole story,it is temporally treated as a simple exposition.
　　[2]See “Wen Qiao zhuan”溫嶠傳in the Jin shu晉書(Beijing: Zhonghua shuju, 1974,67.1785.
 

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