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古代杰出的文艺理论家刘勰在他的《文心雕龙·物色》中说:“春秋代序,阴阳惨舒,物色之动,心亦摇焉……情以物迁,辞以情发……是以诗人感物,联类不穷,流连万象之际,沈吟视听之区,写气图貌,既随物而宛转,属采附声,亦与心而徘徊。”喜怒哀乐,蕴藏在人们内心深处的情感,往往因周围的客观景物而触发,诗词中的客观景物亦因此而蒙上主观情感的色彩,“随物宛转”,“与心徘徊”,正说明情与景不可分割的辩证关系,“情随事生,景随情异”它们是一个事物的两个方面。所以“一切景语皆情语也”,情景名为二,而实不可离,神于诗者,妙合无垠。为什么“一切景话皆情语也”?在一首抒情的诗词中,怎样才能做到情景“妙合无垠”呢?我们不妨读一读婉约派词人柳永的《雨霖铃》。
Liu Yu, an outstanding literary theorist in ancient times, said in his “Wen Xin Diao Long and Seville”: “In the Spring and Autumn Period, the yin and yang are miserable, and the movements of seeking things are moving, and the heart is shaking......... It is the poet’s senses, the endless variety, and the occasion to hang around. He sinks in the area of audio-visual and writes pictures. It changes with the object, and it is a sound that is attached to the attachment, and it is also connected with the heart.” People’s innermost emotions are often triggered by the surrounding objective scenery. The objective objects in the poems are also covered with subjective emotions. “With the things turning,” and “Heart with the heart”, it is an inseparable situation and scenery. The dialectical relationship, ”Situated by circumstances and sentiments", is two aspects of a thing. Therefore, “every scene is a love story”, the scenario name is two, but it is inseparable from God’s poet. Why is “everything is a love story?” In a lyrical poem, how can we make the scene “might be perfect?” We might as well read “Yue Lin Ling” of the Yanyou lyricist Liu Yong.