摘要
魏晋南北朝时期有一类不标明确切摹拟对象的拟古诗,陶渊明的《拟古》九首和鲍照《拟古》八首是这类拟古诗的重要代表。陶渊明《拟古》九首在题材、主题、抒写模式上对先行作品多有继承,并且通过时空的推远、角色的虚构、语言和意象上的承袭营造了"似古"的氛围,其浑言"拟古"并非政治上的掩饰,而是体现了将个人经验融入普遍人生境况的努力。鲍照《拟古》八首在"似古"氛围的营造上更为精细、复杂,在语言风格和意象使用上更重"改写"而非承袭,这与南朝诗风巧构形似的变化有关,也与鲍照本人对诗歌"戏剧性"的追求有关。两组《拟古》八首所言之"志"虽有差别,对"往古"的想像也不尽相同,但都表达了诗人超越平庸卑琐现实的渴望,并通过这种"非个人化"的抒情策略完成了某种自我形塑。
There was a type of imitation poems without definite model in the Wei, the Jin and the Northern and South- ern Dynasties. Tao Yuan-ming＇s Nine Imitation Poems and Bao Zhao＇s Eight Imitation Poems were the important examples. The Nine Imitation Poems carried on the antecedent work＇s subjects, theme and expressive model, and created similar ancient atmosphere by keeping space and time in distance, inventing fictional roles and inheriting words and images. To these poems, imitating was not to disguise the political intention, but rather integrating individual experience into universal living situation. The Eight Imitation Poems created similar ancient atmosphere on a more detailed and complicated way that reflected Bao Zhao＇s pursuit of dramatic poems and social mores of seeking similarity in form. Mthough the ambitions and emotions and the imagination of ancient times in Tao＇s Nine Imitation Poems and Bao＇s Eight Imitation Poems were differ- ent, these two series of poems both expressed a desire of transcending the mediocre reality and achieved self-shaping by the strategy of impersonal lyricism.
出处
《厦门大学学报（哲学社会科学版）》
CSSCI
北大核心
2011年第4期60-68,共9页
Journal of Xiamen University(A Bimonthly for Studies in Arts & Social Sciences)
关键词
拟古
非个人化
陶渊明
鲍照
imitation, impersonal, Tao Yuan-ming, Bao Zhao
