作　　者： ;

机构地区： 华侨大学

出　　处： 《安徽大学学报（哲学社会科学版）》 2011年第3期1-10,共10页

摘　　要： 从男性心理及其艺术表现范式演进的角度考察悼亡诗,可以发现悼亡诗的演进大致经历了三个阶段:一、至西晋潘岳的《悼亡诗》始确定悼亡诗的特定内涵,即专门用来追悼亡妻,且书写的重心明显落在悼亡主体,而不是对象身上。二、唐代韦应物的悼亡之作注入了更多个人化的生活内容,使诗歌表现的重心由悼亡主体向悼亡对象转移。自韦应物之后,夫妻间日常生活琐事和丧葬经过写入悼亡诗中,成为诗家惯例。在艺术表现上,韦诗在意象营造的丰富性和细腻性上都有所发展。三、元稹真正将悼亡诗提升到一个新境界,到他的《三遣悲怀》,悼亡诗的艺术表现最终完成。此后的诗人在悼亡诗的艺术表现上已无多少开拓的余地。 Elegiac poems underwent three stages of development, analyzed from the perspective of masculine psychology and the evolution of artistic expression. In the first stage, the poem was intended for the lost wife, highlighting the emotions of the poet rather than the experience of his wife. This stage was marked by An Elegiac Poem written by Pan Yue in the West Jin Dynasty. In the second stage, the experience of the lost wife gradually surpassed the emotions of poet in importance. Wei Yingwu in the Tang Dynasty first injected personalized life experiences into his poems, where the images became richer in significance and more exquisite. His followers made it commonplace to describe daily life experiences and funeral process in their elegiac poems. The third stage was epitomized by Yuan Zhen, who elevated the artistic expression of elegiac poems to an unprecedented level by his work entitled Three Poems as an Outlet for Sorrow.

关 键 词： 悼亡诗 演进 潘岳 韦应物 元稹

领　　域： [文学]