从“即此可濯缨”到“无尘可濯缨”看白居易的沧浪思想  

On Bai Juyi’s Thought Transformation from “a Reformer” to “a Recluse”

作　　者：田运科[1] 李垣璋 TIAN Yun-ke;LI Yuan-zhang(School of Marxism,Hubei Industrial Polytechnic,Shiyan 442000,China;Editorial Department,Hubei Industrial Polytechnic,Shiyan 442000,China)

机构地区：[1]湖北工业职业技术学院马克思主义学院,十堰442000 [2]湖北工业职业技术学院学报编辑部,十堰442000

出　　处：《湖北工业职业技术学院学报》2021年第2期30-34,共5页Journal of Hubei Industrial Polytechnic

摘　　要：唐宋时期是中国隐逸文化发展的高峰,唐朝白居易的中隐理论把传统隐逸理论向前推进了一大步,他也对北宋苏舜钦在诗文创作和沧浪亭建造上产生了较大影响。白居易从初入仕途时的"即此可濯缨"到晚年的"无尘可濯缨",彻底实现了对沧浪隐居之意的超越。Chinese hermit culture reached the peak in the Tang and Song dynasties.Bai Juyi,a scholar-official of the Tang Dynasty( 618-907 AD),pushed the traditional recluse theory a big step forward,and he also had a great influence on Su Shunqin’s poetry creation and Canglang Pavilion construction in the Northern Song Dynasty( 960-1126 AD). Bai Juyi’s thought transformation was reflected in his verses from"washing my tassels with Canglang clear water",which means that he was an ambitious reformer at the beginning of his career,to"my tassels are dust-free",which means that he was worldly wise and keep serenity after going through ups and downs at the old age.

关 键 词：沧浪 白居易 濯缨 隐逸文化 中隐 

分 类 号：I206[文学—中国文学] G127[文化科学]