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对于屈原的《九歌》,现代研究者多认为作于放逐之前,仅供祭祀之用。而在实际上,《九歌》应作于屈原被放逐之后,有着鲜明的象征意义。中国文学从古至今存在着一条美人象征的创作红线,它串联着历朝历代的此类作品,为文学园地展现出一道凄婉而又美艳的风景线。这种美人象征手法起源于《诗经》,应用于《楚辞》,定型于屈原的《九歌》,以美人喻君王,为屈原之所创。后人沿用,因循而下,有所发展与扩大,美人不但喻君王,而且喻自己,喻兄弟,喻自己所爱的人,喻自己眷恋的理想。这种手法运用的原因,往往是有着不便直说的限制和隐衷。这种手法运用的作者,也往往是命运坎坷的主儿。这种手法运用的好处,在主观上,能够满足作者发泄郁闷、秘传讯息的需求;在客观上,则被笼罩上爱情的悲剧色彩,以掩盖作者的创作动机,做到羚羊挂角,无迹可求。
For Qu Yuan’s “Nine Songs,” modern researchers mostly think that they should only be used for ritual sacrifices before exile. In fact, after the “Nine Songs” should be exiled to Qu Yuan, it has a distinct symbolic meaning. There is a red line of creation of the beauty symbol in ancient Chinese literature, which links up with the works of different dynasties in ancient times and shows a sad and gorgeous landscape for the literary field. This kind of beauty symbolism originated from The Book of Songs, applied to “Chu Ci”, “Nine Songs” stereotyped in Qu Yuan, and created by the famous beauty king Yu Yuan. The descendants follow, follow the example, development and expansion, the beauty is not only King Yu, but also Yu himself, Yu brothers, Yu love their own people, metaphor of their ideal of attachment. The reasons for the use of this approach are often inconvenient to say that the limits and hidden meaning. The author of this technique is also often the main ups and downs of fate. Subjectively, the benefits of using this technique can satisfy the author’s need of exasperating the depressed and secret message; objectively, it is shrouded in the tragedy of love in order to cover up the creative motivation of the author and make the antelopes hanging, without Traceable demand.