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19世纪中叶的晚清词坛出现了一位杰出的大家。他纯熟地运用词这一文学样式,抒情、忆旧、伤别、怀乡,满纸辛酸,伤感无限,把经受战乱的凄苦心情,江山苍茫的悲凉境界,写到了深透无匹。他就是蒋春霖。当代词学专家唐圭璋对蒋春霖作如是评述:“他作词目无南唐两宋,更不屑局促于浙派和常州派的藩篱。他只知独抒性灵,上探《风》《骚》的遗意,写真情,写真境,和血和泪,喷薄而出。论其词格,精致像清真(周邦彦),峭拔像白石(姜夔)。”“清畅而不滑熟,精健而不生涩,论清词以鹿潭为第一
An outstanding man appeared in the late Qing dynasty in mid-19th century. He skillfully used the literary style of the poem, lyrical, recalling the old, hurting, nostalgia, full of bitterness, sad infinite, to withstand the bitterness of the war, the vast realm of sadness and despair wrote no match. He is Jiang Chunlin. Tang Ci-zhang, an expert in contemporary philology, made a commentary on Jiang Chunlin: ”He made no translations of the Southern Tang and Song Dynasties, even more disdainfully for the fences of the Zhejiang faction and the Changzhou faction. Meaning, portrait, portrait, and blood and tears, gushing out. On its words, exquisite like halal (Zhou Bangyan), Qiaoba like white stone (ginger). " Healthy but not astringent, on the clear words to Lutan as the first