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深谙为文之道的作家都很注重结尾的艺术。我国南宋词人姜夔说:“一篇全在尾句,如截奔马。”元代散曲家乔吉对诗歌作品的结构艺术形象化地提出了“凤头、猪肚、豹尾”的要求。清代文论家沈德潜也认为文学作品“能作神龙掉尾之势”便“神乎技矣。”“神乎技矣”的结尾所产生的审美效果,清代剧作家、戏曲理论家李渔打了一个既形象而又恰切的比方,说是“终篇之一刻,临去秋波那一转,未有不令人消魂者也。”
Writers who are versed in the text tend to focus on the end of art. Jiang Nai, a Southern Song dynasty Chinese poet, said: “An entire verse, such as a truncated horse.” Qiao Ji, a composer of the Yuan Dynasty, put forward “crested, pig’s belly and leopard-tail” images of the structural art of poetry. Claim. Qing Dynasty literary critic Shen Deqian also believes that the literary work “can act as a dragon and the tail of the potential” will be “magical skills.” “Magical skills” at the end of the aesthetic effect produced by the Qing Dynasty dramatist, opera theorist Li Yu Da An image of the right analogy, for example, said that “the last moment, the moment of immortality, there is no unpleasant person.”