龚自珍笔下“落花”意象的新变  

The New Variable of Images of "Falling Flower" in Gong Zizhen's Poetry

作　　者：左芝兰[1] 

机构地区：[1]四川音乐学院戏剧影视文学系,四川成都610065

出　　处：《西南交通大学学报（社会科学版）》2011年第1期91-95,共5页Journal of Southwest Jiaotong University(Social Sciences)

基　　金：四川省教育厅重点研究项目(07SA098)

摘　　要：龚自珍诗歌中"落花"意象的出现频率极高。龚自珍不仅结合清嘉道之际暮气沉沉的时代背景,以落花自喻,抒发一生襟抱未开、先觉于时代又不得脱离时代的壮志难酬的悲情,更通过对传统落花意象的重新诠释和组合,与花共鸣,将花作为生当"末世"屈居下僚的才智之士潜在的不朽价值的象征。诗人一扫传统诗词中落花纤弱凄婉、缠绵哀怨的阴柔之气,代之以充盈生动、鲜活激扬的阳刚、壮美格调,将落花所预示的新生与诗人除旧布新、改革图强的精神相扣合,进而借落花群像传递出诗人强烈的生命主体意识和急切的社会变革愿望。The literary image of ＂falling flower＂ in Gong Zizhen＇s poetry can be frequently seen. In his poems, he compares himself with falling flowers and expresses his distress of failing to realize his ambitions and the fact that he precedes the time yet has to separate from it against the background of dismal period when Emperor Jiaqing and Daoguang were in power in the Qing Dynasty. Through the re- interpretation and combination of the traditional image of ＂falling flower＂, Gong also identifies himself with flowers and renders them as a symbol of the immortal values of those talents who degrade themselves in society with alacrity. In his poems, no effeminate description of flowers that often appear in traditional poetry can be found. Instead, the poet endows flowers with vitality, grandeur and masculinity, connecting the rebirth represented by them with his spirit of removing the old and building the new, which then displays his strong subjective consciousness and urgent aspiration of reforming the society by the image of ＂falling flowers＂.

关 键 词：龚自珍 落花 落花意象 生命意识 新变 

分 类 号：I207.22[文学—中国文学]