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我之所以将杜仁杰的[般涉调·耍孩儿]《庄家不识勾栏》和睢景臣的[般涉调·哨遍]《高祖还乡》放在一起比较谈,不仅是因为这两支套曲的创作手法基本相同,还由于它们都以独特的姿态出现在元散曲中。这两支套曲都真实地展现了元代的社会生活画面。正如散曲在中国诗歌的历史长河中的地位一样,它们是元代散曲中的奇花异葩。 于传统题材外另辟蹊径 元代散曲秉承了前代诗词的传统,带着民歌俚曲的质朴、自然、清新,又吸收了北方少数民族歌曲的粗犷、
The reason why I put Du Renjie’s [like-in-relation to playing with children], “the bookmakers do not know the saddle” and the “like-minded and whistle-blowing” “emperor returning home” put together to talk about more than just these two Set of songwriting techniques are basically the same, but also because they are all in a unique gesture in Yuan San. Both sets of songs truly show the social life of the Yuan Dynasty. Just as Sanqu plays a role in the long history of Chinese poetry, they are a marvelous flower in Yuan Dynasty. In addition to the traditional themes, the Song of the Yuan Dynasty, which inherits the tradition of the previous generation of poetry, takes on the rustic, natural and fresh folk songs and absorbs the rugged,