花间血泪 象外诗魂——从《葬花吟》的物我同一透视曹雪芹的主体意识  

Blood and Tear in the Flowers and Poem Soul out of the Metaphor——Subjective Consciousness of Cao Xueqin Reflected in the Intergration of Object and Subject in Flower-burying Song

作　　者：钟云星[1] 

机构地区：[1]重庆社会工作职业学院人文艺术系,重庆400055

出　　处：《南京理工大学学报（社会科学版）》2006年第6期10-16,共7页Journal of Nanjing University of Science and Technology：Social Sciences

摘　　要：《葬花吟》是一首真淳自然而又深于兴寄的悲歌绝唱,妙兼沉郁幽婉与悲愤激烈,其悲剧情韵的深沉凝重尤甚于“红楼”诸诗。正如屈原《离骚》之以香草美人自喻情怀,曹雪芹也是借感春怜花的淑女倾诉满腹辛酸与一腔孤愤。其中虽然吸收了传统文化的养分以丰富诗歌的人文精神及艺术内涵,但归根结蒂是自己出入宇宙人生的曲折心路的艺术概括与高度诗化,抑塞磊落之气与感愤悲摧之情尽从肺腑中流出,正所谓“风格即其人”。Flower-burying Song is of purity, sincerity and perfect metaphor, as well as depression and indignation.Its pessimistic plot is deeper than other poems in A Dream of Red Mansions. As Qu Yuan expressed his own emotion by means of beauty in Li Sao poems, Cao Xueqin also resorted to a graceful girl feeling smoulding with the passing away of spring and flowers to express his grief and irritation.In this poem,although the nutrition of traditional culture was absorbed to enrich the humanism spirit and artistic connotation of this poem,the result came from the artistic summarizing and high poeticizing of various feelings in his living in the world.The feeling of justice and emotion of kndignation flow from the heart. Though it is larded with void colour in Buddhism and Taoism, it is hard to cover his affection and characteristics of purity, which is the so-called ＇The style is the man＇.

关 键 词：《葬花吟》 真淳 兴寄 主体意识 

分 类 号：I207.62[文学—中国文学]