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在袁枚生前,人们已经指出了袁诗与白诗的相似,袁枚本人在晚年也承认了这一点,但他认为这种“貌类”是“无心”的。在笔者看来,这种主观的”无心”与作品的“貌类”更值得我们去探讨。袁诗与白诗都晓畅平易,很少使事用典,都具有意到笔随、挥洒自如、意脉贯通的特色,而更深层的相似,还在于他们心灵上的契合。这种契合还发生在白居易与陶渊明之间、苏轼与白居易之间,并受到无数的辗转于世俗功名与心灵自由之间的文人高度认同。
Before Yuan Mei-sheng, people had already pointed out the similarities between Yuan’s poems and white poems. Yuan Mei himself admitted this in his later years, but he considered such “appearances” to be “heartless.” In my opinion, this subjective “inattention” and works of “appearance” is more worthy of our discussion. Yuan poetry and white poetry are both plain and easy to understand, seldom make things difficult to use, all have the characteristics of pen, swaying freely, with the characteristics of the meaning of arteries and veins, and the deeper resemblance lies in their spiritual conformity. This agreement also took place between Bai Juyi and Tao Yuanming, between Su Shi and Bai Juyi, and was greatly endorsed by countless literati who were removed from secular fame and spiritual freedom.