摘要
如果说《诗经》的比兴是以兴为主,那么屈赋的比兴则是以比为主。历来认为发生这一转化的原因,主要是受到春秋战国“隐语”的影响。但通过比较隐语的联想方式及体用特征,可以发现它与屈赋的比兴差别很大。屈赋的比喻象征主要与春秋以来人们对诗歌功用的认识有关,同时也是诗人摆脱散文形式的影响、集中提炼诗意的创作自觉的体现。《离骚》用四条比兴主导思路通贯全诗,表现了诗人对崇高精神境界的追求,但并未顾及抒情主人公外在形象的一致,因此流行的“女性中心说”和“巫师说”都不符合《离骚》使用比兴的创作意图。《离骚》的主旨和比兴的主导意象都可以在《诗经》“大雅”和“小雅”的不少篇章中找到渊源。由此也可以见出骚与诗的内在联系。
A lot of scholars argues that the figure of speech of the fu of Qu Yuan was affected by the “Yin Yu”(words having implications)of the Pre-Qin Dynasty.The author disagrees with it.The fact is that people think the poets should use the figure of speech to express their political viewpoint since the Spring and Autumn Period.“Li Sao”(Encountering Sorrow,by Qu Yuan)used four main trains of thought of the figure of speech to refine the poetic flavors,the origin of these images can be found in the great elegance and lesser elegance of “Shi Jing”(The Book of Songs).
出处
《北京大学学报（哲学社会科学版）》
CSSCI
北大核心
2005年第1期29-40,共12页
Journal of Peking University(Philosophy and Social Sciences)
关键词
诗骚
屈赋
隐语
比兴
主导思路
The Book of Songs
Fu(ode)of Qu Yuan
figure of speech
Bi Xing(比兴)
Main trains of thought
