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宫体诗在历史上一直受人贬斥,其“形象”往往与艳诗、亡国之音等概念联系在一起。然而,这种“传统形象”并不是宫体诗的真实面目,“轻艳”等词只适用于其中的一部分,但不能代表全部。后世对宫体诗的批评以及对其形象的“塑造”与儒家传统的道德观以及“诗言志”的文学传统有着密切的联系,这一文化影响使人们逐步形成并加深了对宫体诗先入为主的印象。
Palace-style poetry has been denounced in history, its “image ” is often associated with the concept of brilliant poetry, the sound of perishing. However, this “traditional image ” is not the true face of the palace poem, “light sweet” and other words only apply to some but not all of them. Later generations’ criticism of the palace poem, as well as the close relationship between the “molding” of its image and the Confucian traditional morality and the literary tradition of “poetry and speech”, have brought about the gradual formation and deepening of the cultural influence Impression on the poetic poem.