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司空图《二十四诗品》之《纤秾》为其第三品,所描绘的是一种精巧细腻,富彩浓艳的诗歌风格。然而,在“纤秾”之“纤”的理解上学界意见略有分歧,主要在于“纤”字是否含有细小之意。值得注意的是,司空图的《二十四诗品》是对唐朝诗歌实践的总结,并且其中包含着作者对唐朝末期诗风的不满与校正之心。由此,结合作者的个人心灵际遇与广阔的历史背景来看,对于《纤秾》一品的意境的探讨,不应停止在境界狭小与否的争论上,而应沿着历史的线索探索其更加深刻的含义。
Sikong “Twenty-four poetry” of the “sliver” as its third product, is depicted is a delicate and delicate, rich and colorful rich poetry style. However, there is a slight disagreement in the academic opinion about the “fiber” understanding of “fiber”, mainly whether the “fiber” word contains a small meaning. It is worth noting that Sikatu’s “Twenty-Four Poems” is a summary of the practice of Tang poetry, and it contains the author’s dissatisfaction with the late Tang Dynasty poetry style and correction. Therefore, combining with the author’s personal encounters and broad historical background, the discussion of the artistic conception of the “Fiberglass” should not stop in the controversy of narrow realm or not, but should explore along the historical clues more Profound meaning.