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号角,作为战神吹奏的乐器,古往今来为诗人所讴歌。杜甫、陆游、辛弃疾、黄遵宪等都有不少描绘角声的佳句。杜甫的“五更鼓角声悲壮”(《闻夜》)、“永夜角声悲自语”(《宿府》),使人置身安史之乱后唐代某个静寂的夜晚。但是,大多数诗人、词人只是佳句偶涉,或以画角入诗以壮声色。整首写画角,以画角为歌咏对象且形成系列的则有晚清词人况周颐。 况周颐(公元1859——1926),原名周仪,因避清宣统溥仪名,改为周颐,字夔笙,号蕙风,广西临桂(今广西桂林)人。在晚清词坛上与王鹏运、郑文焯、朱孝臧并称为“四大词人”,其咏角词,尤为时人所重,让我们先看第一首:
Horn, as a marching instrument played by the poet in ancient and modern times. Du Fu, Lu You, Xin Qiji, Huang Zunxian, and so have a lot of good angle to describe the cornerstone. Du Fu’s “Five Bells and Bells and Tragedies” (“Wen Ye Night”) and “Yong Ye Jia Kok Shouchu Yu” (“Cebu”) left people in the silent night of the Tang Dynasty after the An-shih chaos. However, most poets and poets are involved only in phrases or poems, so that they can be exaggerated in their poems. The whole painting angle, the angle of view for the object of singing and the formation of a series of late Qing Dynasty Ci Zhou Kuo Yi. Situation Zhou Yi (1859-1926 AD), formerly known as Zhou Yi, due to avoidance of Xuantong Puyi, changed to Zhou Yi, the word 夔 Sheng, No. Lifeng, Guangxi Lingui (now Guangxi Guilin) people. In the late Qing dynasty and Wang Peng Yun, Zheng Wen Zhuo, Zhu Xiaosang and called “the four clergy”, the chant, especially when heavy emphasis, let us first look at the first song: