《古诗十九首》写抒情文字 《古诗十九首》的抒情艺术
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Abstract:
The Nineteen Ancient Poem is an Outstanding Representative of Scholar\u2019s Poem with five characters to a line in last years of Han Dynasty and gets extremely high appraisal in the history of literature. Around the specialty of \u201cThe Nineteen Ancient Poem\u201d which is good at lyrical, this text analyses why it has a beauty of soul-stirring feelings and probes into it\u2019s unique meaning on Lyrical Structure, the Actual Situation in the Poetic Conception, as well as the change of lyrical Person and Visual angel. On emotion expression, The Nineteen Ancient inherits fine tradition of Chinese Lyrical Poem which holds in esteem of expressing emotion sincerity and naturally. It stresses on own feeling\u2019s expression, singing out the aspiration and grievance. Simultaneously, the works surpasses the pain of one\u2019s own, writes out the most generality feelings, and moved every reader\u2019s soul deeply. In the sense of Aesthetics, the works also expresses right desire boldly; breaks away from the fetters of Confucianism, and shows an awakening of individual consciousness. At last: the poet\u2019s turns the change of feels into concrete figure by details which adds the artistic appeal and has a far reaching influence. As the mark of the creation turns from folk to scholar, The Nineteen Ancient Poem gets great achievement on lyrical art. On setting up of lyrical structure, it has the Touching-off Structure of \u201cTouch things and move\u201d, the Deep Thought Structure of \u201cSpace-time continuum interlock\u201d, the Narration Structure of \u201cSet up things reside feeling\u201d. By these, the poets turn the abstract and changing feelings into actual things, and the poem moved readers in the end. But on dealing with the actual situation, it divides into three ways: \u201cTurn timid into real, there has timid in real\u201d, \u201cTimid and real crisscross and contrast\u201d, \u201cLike real and also timid, like timid and real even\u201d. The dealing with the actual situation ingeniously makes the whole poem demonstrates mild and roundabout twists, leaving a lasting and pleasant impressing or aftertaste wholly. And on using of lyrical person and visual angle, the Nineteen Ancient Poem gets new development in expressing on Behalf Of the Poet, which opened up by The Book Of Songs; moreover through the change of visual angle, it can express the verity of the emotion-conveying subject\u2019s heart. The Nineteen Old Poem has showed \u201cwork of function\u201d already on the base of nature and true. The poets express their deep sincere affection with superb artistic ingenuity, get new open-up and development on four aspects the above. At last The Nineteen Ancient Poem brings a great deal of inspiration for later generation\u2019s poem art and sets up immortal exploit in the history of Chinese Poem.
一、长于抒情，感时伤怀，意切情真
1.融情入景，情景交融。
《古诗十九首》的主要艺术特色是长于抒情，具有惊心动魄的真情美。其抒情方法往往是用事物来烘托，融情入景，寓景于情，二者密切结合，达到天衣无缝、水乳交融的境界。如《迢迢牵牛星》(之十)，通篇写长空寂寥、河汉皎洁的秋夜景色，牵牛、织女二星一水相隔不能相聚。而情在其中，表现了男女离别相思之苦。又如《青青河畔草》(之二)用河边青草和园中绿柳构成的融融春色，寄托了“荡子妇”对久行不归的丈夫的思念和烦闷。又如《驱车上东门》(之十三)用洛阳北邙山墓地的凄凉景色，烘托出一种悲凉死寂的气氛，从而更适宜于表现诗人失望于现实的颓废感情。这些都是把人物置于特定的环境气氛之中，用特定的景色以烘托人物的情感。
感情是抽象的，要刻画离愁、别恨、哀伤、怨思等等，是不容易的，堆砌一连串的形容词也不会引起读者共鸣，《古诗十九首》却把抽象的感情用具体的事物表达出来。如“相去日已远，衣带日已缓。”“思君令人老，岁月忽已晚。”(“行行重行行”)“涉江采芙蓉，兰泽多芳草，采之欲遗谁?所思在远道。”(“涉江采芙蓉”)“出户独彷徨，愁思当告谁?引领还入房，泪下沾衣裳!”(“明月何皎皎”)从身体的消瘦(“衣带日已缓”)、容颜的衰老(“岁月忽已晚”)和实际的行动(“采芙蓉”、“引领”、“徒倚”、“垂泪”、“出户”、“入房”、“泪沾衣”)来显示久别愁思的痛苦。又如：“回顾何茫茫，东风摇百草。所遇无故物，焉得不速老?”(“回车驾言迈”)由看见的景物烘托出内心的悲伤。
2.借事寄情，委婉真切
《古诗十九首》还善于通过某种生活情节抒写作者的内心活动，通过叙事渗透抒情，使诗中主人公的形象更鲜明突出。《古诗十九首》注重借鉴《离骚》的抒情性，同时
“‘古诗’将叙事与抒情合二为一，词意婉转，诗思纤密，明显呈现出一种低回要眇的美学风貌。”[4]
古诗充分体现了中国古代诗歌那种单纯而优美的抒情性格。如《西北有高楼》写士子失意。它并不抽象地写他如何怀才不遇，失意彷徨，却写“上有弦歌声，音响一何悲!谁能为此曲，无乃杞梁妻。清商随风发，中曲正徘徊。一弹再三叹，慷慨有余哀。”通过高楼听曲这一具体事件的描绘，无意中流露了对那位歌者的同情;“不惜歌者苦，但伤知音稀”，从而表明了主人公对那个闻声而未见面的人是一个旷世知音;也表明了自己生不逢时的寂寥;最后希望化为双鸿鹄同她一起奋翅高飞，更表明了主人公是个如何奋发有为，而又四顾无侣的形象。又如《凛凛岁云暮》(之十六)一首描写一个思妇怀念良人，梦醒后惆怅伤感的情绪。这是一个蝼蛄悲鸣、凉风凄厉的冬夜，诗中的女主人思念着她的丈夫睡不着觉。她想到天气已寒，而游子还没有寒衣，想到寄锦衾，路途又是如此遥远。想来想去，忽然笃念旧好的良人枉驾来迎，她喜出望外地想，从此携手同归，长相亲爱，这是多么快乐啊!岂料那良人“既来不须臾，又不处重闱”，竟自无情地走了。心里十分懊恼，原来却是一梦。她当时恨不得飞到良人那边。引领遥望，好像良人还走的不远。此时这位女主人似梦非梦，似醒非醒，只觉得凉风拂面，蝼蛄满耳，潮水般的眼泪直涌出来，沾湿了双扉。写道这里，一个孤独无聊的思妇形象就如在目前。这样抒情叙事双管齐下的写法还很多，《孟冬寒气至》、《客从远方来》等篇都是如此。
作为中国古典诗歌由民间走向文人自觉创作的标志，《古诗十九首》在抒情艺术上取得了非凡的成就。
二、善用比兴，含蓄蕴藉，韵味无穷。
“比兴”是中国古代诗歌中的一种传统表现手法，宋代朱熹比较准确地说明了“比、兴”作为表现手法的基本特征，他认为：“比者，以彼物比此物也”;“兴者，先言他物以引起所咏之词也”。通俗地讲，“比”就是譬喻，是对人或物加以形象地比喻，使其特征更加具体生动、鲜明突出;“兴”就是起兴，是借助其他事物作为诗歌发端，以引起所要歌咏的内容。《古诗十九首》在艺术手法上，就是继承和发展了《诗经》、《楚辞》惯用的“比兴”手法，衬映烘托，比兴兼用，着墨不多，言近旨远，用得意境深远、贴切自然。
绛旓細濡傘婅竣杩㈢壍鐗涙槦銆(涔嬪崄)锛岄氱瘒鍐欓暱绌哄瘋瀵ャ佹渤姹夌殠娲佺殑绉嬪鏅壊锛岀壍鐗涖佺粐濂充簩鏄熶竴姘寸浉闅斾笉鑳界浉鑱銆傝屾儏鍦ㄥ叾涓紝琛ㄧ幇浜嗙敺濂崇鍒浉鎬濅箣鑻︺傚張濡傘婇潚闈掓渤鐣旇崏銆(涔嬩簩)鐢ㄦ渤杈归潚鑽夊拰鍥腑缁挎煶鏋勬垚鐨勮瀺铻嶆槬鑹诧紝瀵勬墭浜嗏滆崱瀛愬鈥濆涔呰涓嶅綊鐨勪笀澶殑鎬濆康鍜岀儲闂枫傚張濡傘婇┍杞︿笂涓滈棬銆(涔嬪崄涓)鐢ㄦ礇闃冲寳閭欏北澧...
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