妻子形象进入艳诗的可能性——以孙原湘的创作为例

发布时间：2018-03-29 23:08

本文选题：艳诗　切入点：赠内诗　出处：《重庆邮电大学学报(社会科学版)》2017年02期

【摘要】：艳诗与赠内诗分别有其各自的渊源及发展历程,出于道德因素的考虑,过去的诗人们对二者作了较为明确的区分,妻子的形象逐绝少出现在艳诗之中。然而孙原湘的创作却提供了一个反面的例证:他既写作传统意义上的赠内诗,又在艳诗中对妻子的魅力及风韵作了细致的刻画。对他而言,赠内诗用以容纳一种可示于公众的情感表达方式,而艳诗则因所受限制较少,可以使他创造性地采用一种更具私密性乃至创造性的言情方式,从而构成了对礼法的突破。孙原湘通过这一尝试将一种更加真实、完整的夫妻关系呈献给了读者,并且打破了妻子形象不能进入艳诗的陈规,这也意味着对艳诗作出界定的关键不在于写作对象的身份,而在于作者的写作意图及其笔法的具体表现。
[Abstract]:There are their own origins and development course for the Yan poem and the gift poem. Due to the consideration of moral factors, the poets of the past have made a clear distinction between the two. However, Sun Yuanxiang's creation provides a negative example: he not only writes poems in the traditional sense, but also depicts the charm and charm of his wife. A gift of poetry is used to accommodate a form of emotional expression that can be shown to the public, while a sex poem, because of its less restrictions, allows him to creatively adopt a more intimate and even creative way of expressing feelings. Through this attempt, Sun Yuan Xiang presented a more true and complete relationship between husband and wife to the reader, and broke the stereotype that the wife's image could not enter the Yan poem. This also means that the key to defining Yan poem lies not in the identity of the writing object, but in the author's writing intention and the concrete expression of the writing method.
【作者单位】：复旦大学中文系;
【基金】：中国博士后科学基金项目:好色与“好色”之间——日本江户、明治时期艳诗研究(2016M591587)
【分类号】：I207.22

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