论屈原《离骚》和曹植《洛神赋》中宓妃形象  

The Image of"Fu Fei"from Qu Yuan's Li sao and Cao Zhi's Luo shen Fu

作　　者：吴美卿[1] 刘怡菲 

机构地区：[1]韩山师范学院中文系,广东潮州521041 [2]惠州市惠港中学,广东惠州516000

出　　处：《韩山师范学院学报》2010年第1期51-56,共6页Journal of Hanshan Normal University

摘　　要：宓妃这一形象源于神话,而文人对她的解读和看法各有不同,屈原和曹植是其中的典型代表。在屈原的《离骚》中,宓妃是一个骄傲无理、轻浮淫游、变化无常的否定形象;在曹植的《洛神赋》当中,她却是一个缠绵痴情、凄美生怜的肯定形象。追溯形成此差异的原因,便是心境与际遇使然。"否定"出自于屈原的彻底绝望,"肯定"来源于曹植的一线希望。＂Fu Fei＂ was from the myth, but the literatis＇ views on her were different, with Qu Yuan and Cao Zhi as the representatives. In Qu Yuan＇s Li Sao, ＂Fu Fei＇s＂ character is negative： conceited, lustful and moody ; but in Cao Zhi＇s Luo Shen Fu. the same character is positive： pretty, plaintive and infatuated. This pa- per attempts to trace the great differences between them and concludes that it was due to their different moods and experiences. ＂Negative image＂ was due to Qu Yuan＇s despair mood, while ＂Positive image＂ was due to Cao Zhi＇s good expectation.

关 键 词：宓妃 屈原 曹植 心态 差异 

分 类 号：I206.2[文学—中国文学]