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进入魏晋南北朝,文学开始逐渐剥去以前人们所加在它上面的种种虚饰和羁绊,走向独立发展的阶段.与此相应,总结创作并批评创作的文学理论,也在日趋纯质化.钟嵘的《诗品》就是其中的突出代表.正如方孝岳先生《中国文学批评》所论,《诗品》是开单刀直入论诗的风气的.钟嵘针对其时文坛诗坛上存在的“理过其辞,淡乎寡味”、“文章殆同书抄”、“文多拘忌,伤其真美”等弊端,在评价诗歌创作是否成功、是否有意义时,重点考察它能不能有“摇荡情性”、“动天地,感鬼神”、“使味之者无极,闻之者动心”,也就是说,是否有吟咏性情,令人回味无极的特质.因此,许多文艺批评家总结说,《诗品》的一个重要内容便是“滋味说”,或者就干脆用“滋味”二字作为《诗品》的代名词.本文拟从“滋味”与“味”、“滋味”的内涵、“滋味”的创造、与“滋味”与意境四个方面作一尝试性的探讨.
In the period of Wei, Jin, Southern and Northern Dynasties, literature began to gradually strip away all kinds of ornaments and fetters that people had previously attached to it and went to an independent stage of development. Zhong Rong’s “poetry” is one of the prominent representatives.As Fang Xiaoyue, “Chinese Literary Criticism” in the discussion, “poetry” is a straightforward approach to poetic ethos. His speech, the slightest taste “,” article with the book copy “,” Wen DuoJie, hurt its beauty “and other drawbacks, in assessing the success of poetry, whether it makes sense, focusing on whether it can have” shaken love Sex, “” moving heaven and earth, feeling ghosts and gods, “” impressing those who taste, and tempting those who smell, “which is to say, whether there is a charismatic, memorable character.Therefore, many literary critics conclude that” One of the important contents of “poetry” is “flavor” or simply use the word “taste” as synonymous with “poetry” .This paper intends to use “taste” and “taste”, “taste” connotation, “taste ”Creation, and“ taste ” Discussion on a tentative four mood for.