论文部分内容阅读
中唐时期的诗人王建创作的《宫词百首》继承了以往宫怨诗现实主义传统的基础,沿袭了七绝组诗的诗歌形式,在内容更具时代性和趣味性,使宫廷诗在当时达到了一个新的高度,因此被誉为宫词之祖。而他笔下的宫女也让人耳目一新,一改古代宫女在人们心中保守拘束以及被锁深宫的普遍的怨妇形象。她们虽然身不由己,越不过高高的城墙,逃不出深深地宫苑,每天被迫面对宫中的尔虞我诈,但依旧真实灵动地生活着,去追求自己想要的,热爱生活又积极向上,绝不是天天翘首以盼,等待别人赋予她们人生的意义,在泪水和怨恨中虚度青春。本文通过《宫词百首》中的体育和竞技活动、装扮和生活艺术以及心理活动等宫女的日常生活阐述诗中所描绘的中唐宫女的精神面貌。
The “One Hundred Ci Gong” by poet Wang Jian in the Middle Tang Dynasty inherited the traditional tradition of palace resentment and inherited the poetic form of QIU QI’s poetry. The poem was even more contemporary and interesting in content, A new height, it is known as the ancestor of the word. And the ladies in his works are also refreshing, a change in the ancient palace of women in the hearts of people who are restrained and locked in the general image of the house of grievances. Although they could not help but through the high wall, they could not escape deep palace, every day they were forced to confront the intrigues in the palace, but they still lived in a real and smart way, pursuing what they wanted and loving life and being active Upward, by no means every day highly anticipated, waiting for others to give them the meaning of life, in the tears and resentment in my youth. This article expounds the spiritual outlook of the Mid-Tang Dynasty ladies depicted in the poem through the daily life of the ladies such as sports and athletics, the art of dress up and life, and the psychological activities in “One Hundred Words of the Palace”.