论唐诗中的思妇形象
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摘要
唐诗作为中国古代文学宝库中的一枝奇葩,一直散发着永世不衰的艺术魅力。唐诗中的人物形象也一直是众多学者研究唐诗的一个重要切入点。唐诗中的思妇形象众多,其描写无不渗透着唐朝的时代特色,从中可以窥见唐朝女性的生活点滴,对于了解唐朝的时代背景和社会文化生活有着重要的文献价值。此外,认这些研究成果有助于建设我国先进的性别文化,吸收传统性别文化的精华,剔除其文化糟粕,既是对女性的尊重,对平等的追求,对文明的认知,也是对传统的尊重,对现时的负责,对未来的遗留。
本文选择女性形象中的一个即思妇形象来做为研究对象。思妇形象自在《诗经》里面出现,在以后的岁月里一直延绵不绝,在两汉乐府诗和《古诗十九首》里也有所发展,到了唐代,思妇形象逐渐丰富起来,几乎每个大诗人的作品中都有思妇形象,其艺术手法达到了前所未有的高度。本文着重讨论唐诗中的思妇形象。本文按照思妇的身份将其分类,有征人妇、商人妇,游子妇等。对于唐诗中主要的三个思妇类型及其心理特点做了简要的描述,使读者横向上对唐诗中思妇形象有个大致的了解。然后,本文按照唐诗的四分法,即初唐、盛唐、中唐、晚唐的时间顺序,把思妇形象在整个唐代的发展流变做了简要的描述,使读者在从纵向上对唐诗中的思妇形象发展流变有个大致的了解。其后,笔者分析总结了唐诗中塑造思妇形象的艺术手法,主要有运用多种意象(如征衣、月亮和梦)、情和景的巧妙结合和大量使用代言等。
最后,本文得出结论：唐诗中的思妇形象类型众多,刻画丰满,在艺术上取得了非凡的艺术成就。这对于我们研究唐诗的艺术魅力、了解唐朝的社会生活和提高女性地位有着非常重要的意义。
Tang as a treasure house of ancient Chinese literature in a wonderful work, has not changed forever exudes artistic charm. Poetry in the many characters have been an entry point for scholars studying Tang poetry. Tang in the thinking of many women's image, its description permeates the characteristics of the Tang Dynasty era, from which we can glimpse the life of women in the Tang Dynasty, the Tang Dynasty era for understanding the background and the social and cultural life has a great documentary value. In addition, the results of these studies will help identify construction of gender in China's advanced culture, absorbing the best of traditional gender culture, remove the dross, is respect for women, the pursuit of equality.
Understanding of civilization is the traditional respect for the present, the future legacy.
This choice of a female image in the image of women that do the thinking for the study. Women think the image itself, "The Book of Songs," which appears, has never been stretches, in the Han Dynasty Poem, and "Nineteen," where there are also, to the Tang Dynasty, the image gradually enriched thinking women, almost every major poet's works Wives are thinking, its artistic reached unprecedented heights. This article in accordance with the thinking woman's identity to classify, with hiring women, women traders, women and other wandering. Tang in the three main types and psychological characteristics of women thought a brief description of the reader in thinking laterally Tang Women have a general understanding of the image,
Then this article in accordance with the Tang's illustration of the Tang Dynasty, Tang Dynasty, Tang, Tang chronological order, the woman thought the image of the Evolution in the Tang Dynasty a brief description of the reader from the vertical Women of the Tang Dynasty in the image of the development of ideas flow have a general understanding. Tang then analyzed and summarized in the shape of the women thought the image of the art techniques, mainly the use of multiple images (such as Zheng Yi, the moon and dreams), and King of the unique combination of intelligence and extensive use of endorsements and so on.
Finally, the paper concludes:Poetry in the thinking of many types of women's image, full characterization, in art achieved extraordinary artistic achievements. This is our study of Tang's artistic charm, to understand the social life of the Tang Dynasty and the advancement of women have very important significance.
本文选择女性形象中的一个即思妇形象来做为研究对象。思妇形象自在《诗经》里面出现,在以后的岁月里一直延绵不绝,在两汉乐府诗和《古诗十九首》里也有所发展,到了唐代,思妇形象逐渐丰富起来,几乎每个大诗人的作品中都有思妇形象,其艺术手法达到了前所未有的高度。本文着重讨论唐诗中的思妇形象。本文按照思妇的身份将其分类,有征人妇、商人妇,游子妇等。对于唐诗中主要的三个思妇类型及其心理特点做了简要的描述,使读者横向上对唐诗中思妇形象有个大致的了解。然后,本文按照唐诗的四分法,即初唐、盛唐、中唐、晚唐的时间顺序,把思妇形象在整个唐代的发展流变做了简要的描述,使读者在从纵向上对唐诗中的思妇形象发展流变有个大致的了解。其后,笔者分析总结了唐诗中塑造思妇形象的艺术手法,主要有运用多种意象(如征衣、月亮和梦)、情和景的巧妙结合和大量使用代言等。
最后,本文得出结论：唐诗中的思妇形象类型众多,刻画丰满,在艺术上取得了非凡的艺术成就。这对于我们研究唐诗的艺术魅力、了解唐朝的社会生活和提高女性地位有着非常重要的意义。
Tang as a treasure house of ancient Chinese literature in a wonderful work, has not changed forever exudes artistic charm. Poetry in the many characters have been an entry point for scholars studying Tang poetry. Tang in the thinking of many women's image, its description permeates the characteristics of the Tang Dynasty era, from which we can glimpse the life of women in the Tang Dynasty, the Tang Dynasty era for understanding the background and the social and cultural life has a great documentary value. In addition, the results of these studies will help identify construction of gender in China's advanced culture, absorbing the best of traditional gender culture, remove the dross, is respect for women, the pursuit of equality.
Understanding of civilization is the traditional respect for the present, the future legacy.
This choice of a female image in the image of women that do the thinking for the study. Women think the image itself, "The Book of Songs," which appears, has never been stretches, in the Han Dynasty Poem, and "Nineteen," where there are also, to the Tang Dynasty, the image gradually enriched thinking women, almost every major poet's works Wives are thinking, its artistic reached unprecedented heights. This article in accordance with the thinking woman's identity to classify, with hiring women, women traders, women and other wandering. Tang in the three main types and psychological characteristics of women thought a brief description of the reader in thinking laterally Tang Women have a general understanding of the image,
Then this article in accordance with the Tang's illustration of the Tang Dynasty, Tang Dynasty, Tang, Tang chronological order, the woman thought the image of the Evolution in the Tang Dynasty a brief description of the reader from the vertical Women of the Tang Dynasty in the image of the development of ideas flow have a general understanding. Tang then analyzed and summarized in the shape of the women thought the image of the art techniques, mainly the use of multiple images (such as Zheng Yi, the moon and dreams), and King of the unique combination of intelligence and extensive use of endorsements and so on.
Finally, the paper concludes:Poetry in the thinking of many types of women's image, full characterization, in art achieved extraordinary artistic achievements. This is our study of Tang's artistic charm, to understand the social life of the Tang Dynasty and the advancement of women have very important significance.
引文
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[110]弗洛伊德著,车文博编.弗洛伊德文集[M].长春：长春出版社,2004.410、292.
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[113]弗洛伊德著,车文博编.弗洛伊德文集[M].长春：长春出版社,2004,292.
[114][115]彭定求、杨中纳等.全唐诗[M].北京：中华书局,1986.
[115]沈祖菜.唐人七绝诗浅释[M].上海：上海古籍出版社,1981.36.
[117]彭定求、杨中纳等.全唐诗[M].北京：中华书局,1986.45.
[118]乔以钢.中国女性文学—乔以钢自选集[C].天津：.南开大学出版社,2004,57.
[119]杨义.李白代言体诗的心理机制.海南师范学院学报[J].2000(1),1-10.
[120][121]彭定求、杨中纳等.全唐诗[M].北京：中华书局,1986.
[2]袁行霈主编.中国文学史第2卷[M].北京：高等教育出版社,2006.231-232.
[3]王颖.《诗经》思妇诗艺术技巧举隅——析《卷耳》《伯兮》《君子于役》[J].贵州教育学院学报,1999年(2)： 48-62.
[4]朱大银. “砧”与中国古代捣衣诗及思妇诗[J].淮南师范学院学报,[J]2001(4).
[5]王重民.《敦煌曲子词集》[M].上海：商务印书馆,1954.29.
[6]唐圭章.《全宋词》[M].北京：中华书局,1981.34.
[7]刘国强. 《诗经》中的思妇诗简论[J].焦作工学院学报,2002年12月.(4).
[8]王立坚.李煜思妇词探讨——兼论李煜词的中期创作[J].学习与探索 1999.(4).
[9]清阿克当阿等.全唐文[M].北京：中华书局,1983.97
[10]袁行霈主编.中国文学史第1卷[M].北京：高等教育出版社,2006：190.
[11]马睿.无我之“我”——对中国古典抒情诗中代言体现象的女性主义思考[J].西南民族学院学报,1999,(6)
[12]袁行霈主编.中国文学史第2卷[M].北京：高等教育出版社,2006.33-34.
[13]转引自吴广平编注《宋玉集 宋玉及其作品的评论资料》.24.
[14][15]彭定求、杨中纳等.全唐诗[M].北京：中华书局,1986.
[16]-[19]彭定求、杨中纳等.全唐诗[M].北京：中华书局,1986.
[20]刘红旗.《唐代闺怨诗传播发展轨迹略论》.东南传播[J].1986,(11).
[21]刘洁.《唐代宫怨诗和闺怨诗的幽怨美》.西南师大学报[J].2001年第38卷, (5).
[22]萧月贤的《《诗经》思妇诗的艺术构思》.黄河科技大学学报[J].2005, (3).
[23]朱长芝.李白的思妇诗浅探.中国李白网.http://www.chinalibai.com/readcontent. asp?id=5557,2004-11一05.
[24]徐蔚.情意动人的闺怨诗.语文世界(高中版)[J].2003,(3).
[25]-[44]彭定求、杨中纳等.全唐诗[M].北京：中华书局,1986.
[45]-[48]彭定求、杨中纳等.全唐诗[M].北京：中华书局,1986.
[49]太平广记[M].北京：中华书局,1961.
[50]-[56]彭定求、杨中纳等.全唐诗[M].北京：中华书局,1986.
[57]陈东原.中国妇女生活史[M].北京：商务印书馆,1998.6.
[58]-[69]彭定求、杨中纳等.全唐诗[M].北京：中华书局,1986.
[70]陈伯海,唐诗汇评[M].杭州：浙江教育出版社,1995.25-46.
[71][72]彭定求、杨中纳等.全唐诗[M].北京：中华书局,1986.
[73]清王琦注.李太白全集[M].北京：中华书局,1979.
[74]宋陈藻.读李翰林诗[M].北京：中华书局,1979.
[75]-[77]彭定求、杨中纳等.全唐诗[M].北京：中华书局,1986.
[78]宋欧阳修、宋祁..新唐书[M].北京：中华书局,1975.
[79]-[98]彭定求、杨中纳等.全唐诗[M].北京：中华书局,1986.
[99]徐蔚.唐代闺怨诗三题[J],福建师大福清分校学报,1996(3),37-51.
[100]-[109]彭定求、杨中纳等.全唐诗[M].北京：中华书局,1986.
[110]弗洛伊德著,车文博编.弗洛伊德文集[M].长春：长春出版社,2004.410、292.
[111][112]彭定求、杨中纳等.全唐诗[M].北京：中华书局,1986.
[113]弗洛伊德著,车文博编.弗洛伊德文集[M].长春：长春出版社,2004,292.
[114][115]彭定求、杨中纳等.全唐诗[M].北京：中华书局,1986.
[115]沈祖菜.唐人七绝诗浅释[M].上海：上海古籍出版社,1981.36.
[117]彭定求、杨中纳等.全唐诗[M].北京：中华书局,1986.45.
[118]乔以钢.中国女性文学—乔以钢自选集[C].天津：.南开大学出版社,2004,57.
[119]杨义.李白代言体诗的心理机制.海南师范学院学报[J].2000(1),1-10.
[120][121]彭定求、杨中纳等.全唐诗[M].北京：中华书局,1986.