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陈维崧词风具有两重性,即雕红啄艳和慷慨雄霸互见,且日益转向深雄为主的面貌。而这种风貌一方面决定于早年作为仕宦子弟的浮艳生活在其意识深层的积淀,另一方面也是身世巨变之后的抑郁悲凉投射在他敏感的心灵上的结果。在对陈维崧词作分析的基础上,本文对词这一文体的特质作了一些探讨,提出“表现主题两重性”的看法,进而说明陈维崧的词作在有些词论家那里成了异类的原因,是他把词作为抒情手段运用的时候,打破了正统词论家所设立的显隐二分的藩篱,而完全根据抒情的需要或隐或显、显隐互见、显此而隐彼,略无定则可寻。
Chen Weisong’s style of writing has duality, that is, carving red pecking Yan and generous domineering each other, and increasingly turned to the main male-dominated appearance. On the one hand, this style is determined by the deep accumulation of life in the early years of his life, as well as the psychologically sad depression projected by his life after the great changes in his life. Based on the analysis of Chen Weisong’s Ci, this article makes some discussions on the characteristics of Ci, and puts forward the idea of “expressing the duality of the subject”, thus illustrating that Chen Weisong’s Ci has become alien to some philosophers The reason is that when he used the lyrics as a means of expressing emotions, he broke through the barrier of dichotomy set by the orthodox theorists, and based on the needs of lyricism No rules can be found.