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唐宋贬谪词中渔父意象的原型,远溯自庄子《外物》、屈原《渔父》,近承于张志和《渔歌子》,柳宗元《江雪》。南宋贬谪词中的渔父意象运用得格外频繁。其意象所表达的含义,是对张氏渔父避世精神和柳氏渔父抗世精神的继承与结合。究其原因,首先是由于渔父意象中隐含的庄子、屈子形象与南宋贬谪词人在所处的时代背景和贬谪的原因上具有相似性;其次是南宋贬谪词人大多有“避世”的客观条件,即有较为丰足的物质基础;再者是因为南宋特殊的时代环境形成了文人“进则尽节,退则乐天”的思想,在文学上又有北宋苏东坡以及南宋赵构作榜样。
The prototype of the image of the fisherman in Tang and Song derogatory terms dates back to Zhuangzi’s “foreign objects” and Qu Yuan’s “fisherman”, which is closely related to Zhang Zhihe’s “Fishing Song” and Liu Zongyuan’s “Jiang Xue”. The image of the fisherman in the Southern Song Dynasty relegated to the use of extraordinarily frequent. The meaning expressed by their images is the inheritance and combination of the spirit of avoiding fishermen in Zhang’s fishermen and the spirit of fighting the worldly fishermen of Liu. The reason is that the image of Zhuangzi and Quzi implicit in the image of fisherman has similarities with the era background and relegation reason of the banished poets in Southern Song Dynasty. “Objective conditions, that is, have a more abundant material basis; moreover, because of the special era of the Southern Song Dynasty formed a literati ” into the end of the festival, back Lotte "thought, in literature there are the Northern Song Dynasty Su Dongpo and the Southern Song Dynasty Zhao structure as a role model.