袁静兰. 厉鹗诗中的隐逸情结及意象体现[J]. 内江师范学院学报, 2015, (5): 42-45. DOI: 10.13603/j.cnki.51-1621/z.2015.05.008
    引用本文: 袁静兰. 厉鹗诗中的隐逸情结及意象体现[J]. 内江师范学院学报, 2015, (5): 42-45. DOI: 10.13603/j.cnki.51-1621/z.2015.05.008
    YUAN Jing-lan. On Reclusion Complex and Its Image in LI E's Poems[J]. Journal of Neijiang Normal University, 2015, (5): 42-45. DOI: 10.13603/j.cnki.51-1621/z.2015.05.008
    Citation: YUAN Jing-lan. On Reclusion Complex and Its Image in LI E's Poems[J]. Journal of Neijiang Normal University, 2015, (5): 42-45. DOI: 10.13603/j.cnki.51-1621/z.2015.05.008

    厉鹗诗中的隐逸情结及意象体现

    On Reclusion Complex and Its Image in LI E's Poems

    • 摘要: 清代诗人厉鹗作为浙派后期巨匠,与康乾盛世的主流文化方向背道而驰,他不求仕进,对当朝政治既冷漠又疏远,却向往山林野趣,喜与方外交游,于诗中表现出一种内敛的疏离心态和隐逸的文化精神,具体在意象上,他笔下多描写淡泊的山林、澄碧的流水、清冷的月光,以此来涤除内心的尘虑,寄托他不慕仕进、渴望心灵解脱的逸世情怀。

       

      Abstract: The poet LI E, a master of late Zhejiang School in Qing Dynasty, went in opposite directions with main-stream culture in the flourishing period of Emperors Kangxi and Qianlong. He was not in pursuit of any official post and indifferent to politics, but longed for interesting life in wild mountains and was keen on traveling. In his poems, he showed his alienation and cultural spirit of seclusion. In images specifically, what he described mostly were green mountains, clear water, and the cold moonlight, which he hoped could remove his anxieties and symbolize his indifference to official affairs and thirst for relief of his soul.

       

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