铸造意境和锤炼语言,向来被认为是中国古典诗歌的两大艺术成就。仅就历代流传下来的举不胜举的“一字师”之类的传说以及有关的评论,也可以体现出一种极其严肃的创作态度、深厚的艺术功力和睿智的语言敏感。借用刘勰的话来说,可称“善为文者,富于万篇,贫于一字”,为了少许字,甚至一个字的妥贴安排,必须精益求精、一丝不苟,甚至呕心沥血,至死不休。“贫于一字”正是在语言万象之前高度集中和执着的精神状态。经过此状态后,又必然能找到一个最恰切的字。此字在整篇诗作中能达到如楔入榫的高度吻合的良好效果。试分言之,一曰传真之贫,二曰传神之贫,三曰传情之贫。下面一一加以论述。 Casting mood and tempered language, has always been considered as two major artistic achievements of Chinese classical poetry. Only legends and relevant comments on the endless “handedness” handed down from generation to generation can also show an extremely serious creative attitude, deep artistic skill and wise language sensitivity. In the words of Liu Xie, we can say “good writers, rich people, poor words”. For a few words or even a proper arrangement of words, we must strive for excellence and meticulous care, and even work hard to death. It is the state of mind that is highly concentrated and persistent before the language Vientiane. After this state, but also be able to find the most appropriate word. This word in the entire poem can achieve the same as the wedge into the tongue of the good results. Tries to say, one said the poor fax, the second said the poor, the third said the pass of the poor. The following one to be discussed.