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明清之际的诗歌创作,不管是在“贰臣”诗人还是遗民诗人那里,普遍存在一种自饰的倾向。以其中最有代表性的吴伟业为例,论者大都认为其仕清后的“心史”创作是痛苦、愧悔心态的真实写照,但笔者认为其中有真实的一面,也有修饰表演的一面,暗藏着剖白心迹、开脱失节罪责以冀后人同情谅解的求名之心。文章即以吴氏为个例,辨析明清之际诗歌创作的这种自饰倾向及成因,并进而探讨由此引发的理论问题。
During the Ming and Qing dynasties, poetry creation, whether it is in the “Er Chen ” poet or legacy poet there, there is a universal tendency of self-decorated. Take one of the most representative Wu Weiye as an example, most of the scholars think that the creation of “heart history” after his official career is a true portrayal of pain and remorse. However, I think that there is a real side and a modified performance On the one hand, they conceal their heart and mind to help them understand the sympathy and understanding of the future generations. This article takes Wu as an example to analyze the tendencies and causes of this kind of poetry creation during the Ming and Qing dynasties, and then to explore the theoretical issues arising therefrom.