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边塞主题乐府诗在中唐的发展变化并不是直线进行的,而是呈现出螺旋发展的态势,在发展新变的同时亦有向齐梁之作回归之处,可谓一种复变:在题名选择上,中唐边塞题乐府诗表现为多沿袭乐府旧题;在创作方法上,中唐边塞题乐府诗表现为多用赋题法创作,与齐梁相类。但于内容偏重写实,收盛唐乐府创作之效;在情感表达上,中唐边塞题乐府诗则从初盛唐自我情感表达向齐梁群体情感表达回归;在意象塑造上,中唐边塞题乐府诗则沿袭齐梁、初唐时期的含义并进一步深化,从而形成完善的典型意象。这种现象是在乐府诗自身特质和社会环境的共同作用下产生的。
The development and change of frontier theme Yuefu poems in the Middle Tang Dynasty did not proceed in a straight line, but showed a spiral development trend. In the process of making new changes, there was also a return to Qi Liang as a complex change: in the title On the choice, the frontier music of the Tang Dynasty in the Tang Dynasty showed many inscriptions on the Yuefu old title. In terms of creative methods, the performance of the Yuefu Poems in the Frontier Fortress of the Tang Dynasty was written in the style of multi-purpose assignment, which is similar to that of Qiliang. However, in the content emphasis on realistic writing, Sheng Sheng Tang Yuefu creative effect; in the emotional expression, the Tang Dynasty frontier title Yuefu poem from the early Tang Dynasty self-emotional expression Qiliang group emotion return; in imagery shaping, the Tang border problem Yuefu poetry follows the meanings of Qi Liang and early Tang Dynasty and further deepens, thus forming a perfect typical image. This phenomenon is produced under the joint influence of Yuefu poems’ own characteristics and social environment.