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古代文学作品中的桃源意象有两种渊源:一是源自陶渊明《桃花源记》,另一则来自刘义庆《幽明录》;前者常被视为隐逸世界的象征,后者是仙界和男女爱情的象征,对后世文学影响深远。桃源意象的仙境意味在南朝文学中开始显现,而隐逸与避世的意义在唐宋文学中体现得较为突出。桃源意象的男女之情在晚唐五代的婉约词中开始出现,宋词中的桃源意象则集中而突出地体现了文人对于隐逸和仙界的向往。元代社会汉族文人人生失衡,青楼酒肆的生活使作品的桃源意象的情欲色彩浓厚,明、清的传奇和小说等体裁中的桃源意象多表现为对刘晨、阮肇天台山艳遇的情色想象与追求。历代文学中的桃源意象的不同意蕴体现出人们对桃源意象的原型意义的继承与发展,丰富了桃源意象的文学意义。
There are two origins of the image of Taoyuan in ancient literary works: one is from Tao Yuanming’s “Peach Blossom Spring” and the other is from Liu Yiqing’s “You Ming Lu”; the former is often regarded as a symbol of seclusion, Symbol, far-reaching impact on later literature. The fairyland of Taoyuan imagery began to appear in the literature of the Southern Dynasties, while the significance of seclusion and avoidance was more prominent in the Tang and Song literature. The love of men and women in Taoyuan image began to appear in the graceful words of the late Tang and Five Dynasties. The image of Taoyuan in the Song Dynasty epitomized the scholars’ yearning for seclusion and celestial world. In the Yuan Dynasty, Han nationality literati were unbalanced in life. The life in the youth winehouses made the image of Tao Yuen strong in the eroticism. The images of Taoyuan in the genres such as Ming and Qing dynasties and novels were mostly the erotic images of the romantic encounters of Liu Chen and Ruan Zhao With the pursuit. The different connotation of Taoyuan image in the ancient literature reflects the inheritance and development of the archetypal meaning of Taoyuan image and enriches the literary meaning of Taoyuan image.