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宋代俳谐赋之谐趣,从建构方式而言,或因表里不谐、文体形式与赋作内容之张力而产生,或因言意相离、言语表面意思与作者深层意旨之张力而酿成,或因物类幻形、物类原态与所幻形象之张力而获得;从旨归寓意而论,既有自我解嘲、讽世刺时、抒怀明理等寓庄于谐之属,也有肆笔为文、以文为戏之作。宋代俳谐赋在艺术上承继前贤往往又能翻新出奇,并将俳谐文学中“审物丑以刺人世”这一范式发展成熟并推向高峰,自有其独特价值;但也有部分作品因尚理之时代语境的强大影响,径直以议论将龙睛点出,背离了俳谐文重“谐”亦重“隐”之原则,减弱了作品的趣味性和艺术性。
The harmonic meanings of Harmony Fu in the Song Dynasty are either due to the mode of construction, or due to the disorder of the form, the style of the form and the connotation of the connotation, or the tension between the meaning of the surface and the deep meaning of the author Into, or because of the illusion of things, the original state of the object and the tension of the image obtained by magic; from the purpose of the meaning of the allegiance, both self-deprecating, satirical world thorns, Stanford as the text, the text for the play. In the Song Dynasty, Harmony Fu inherited the predecessors in the art often can be refurbished surprisingly, and Harmony Literature “trial ugly to sting the world ” paradigm mature and peaked, has its own unique value; but there are some Due to the strong influence of context in the era of Shang Li, the principle of “harmony” and “implicit” is discussed in a straightforward manner to reduce the interest and art of the work .