二零一二英国文选第二讲补充材料 Burns,Wordsworth,Romanticism

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1、二零一二年英国文学选读第二讲补充材料February, 2012Part I Introduction about Robert Burns ROBERT BURNS(17591796)1786: Poems, Chiefly in the Scottish Dialect (Kilmarnock edition)1787: Begins collecting , editing , and writing songs for The Scots Musical Museum.A favorite myth of later eighteenth-century primitivisms wa

2、s that there exist natural poets who warble their native woodnotes wild, independent of art or literary tradition. These artless poets were sought among peasants and proletarians, whose caste or rural habitation, it was thought, protected them from the artificialities civilized life and culture. Whe

3、n Robert Burns published his first volume of Poems in 1786, he was at once hailed by the literati of Edinburgh as an instance of the natural genius, a “Heaven-taught plowman” whose poems were the spontaneous overflow of his native feelings. Burns rather enjoyed playing the role of poet by instinct.

4、But in fact he was a well-read (although largely self-educated) man whose quick intelligence and sensibility enabled him to make the most of the limited opportunities. And although he broke clear of the contemporary conventions of decayed English neoclassicism, he did so not by instinct but as a del

5、iberate craftsman who turned to two earlier traditions for his modelsthe Scottish literary tradition, which goes back to the late Middle Ages. His fatherWilliam Burnes, as he spelled his namewas a God-fearing and hardworking farmer of Ayrshire, a county in southwestern Scotland, who could not make a

6、 go of it in a period of hard times and high rents, and died in 1784, broken in body and in spirit. Robert, with his brother Gilbert, was forced to do the toil of a man while still a boy, and began to develop the heart trouble of which he was to die when only thirty-seven. Although his father had th

7、e Scottish esteem for education and saw to it that his sons attended school whenever they could, Burnss education in literature, theology, politics, and philosophy came mainly from his own reading. At the age of fifteen, he fell in love, and was inspired by that event to write his first song. “Thus,

8、” he said, “with me began Love and Poesy.” After he reached maturity, he cultivated assiduously both these propensities. He began a series of amorous affairs, fathering in 1785 the first of a number of illegitimate children; he also extended greatly the range and quantity of his attempts at poetry.

9、So rapid was his development that by the time he published the Kilmarnock edition, at the age of twenty-seven, he had written all but a few of his greatest poems. The Kilmarnock volume (so named from the town in which it was published) is one of the most extraordinary first volumes by any British po

10、et, and it had a great and immediate success. Burns was acclaimed “Caledonias Bard” and lionized by the intellectuals and gentlefolk when he visited Edinburgh soon after his book came out. In this milieu the peasant-poet demonstrated that he could more than hold his own as a brilliant conversational

11、ists and debater. But he was also wise enough to realize that once the novelty wore off, his eminence in this society would not endure. He had a fierce pride that was quick to resent any hint of contempt or condescension toward himself as a man of low degree. His sympathies were democratic, and he w

12、as an outspoken admirer of the republican revolutions in America and France. In religion, too, he was a radical, professing “the religion of Sentiment and Reason” in opposition to the strict Calvinism in which he had been raised, and he offended many Presbyterians by his devastating satires against

13、the rigid tenets and the moral authoritarianism of the Scottish kirk. Furthermore, , his sexual irregularities were notorious, less because they were out of the common order at that time than because he flaunted them before the “unco guid”as his biographer DeLancey Ferguson has said, “it was not so

14、much that he was conspicuous sinful as that he sinned conspicuously.” Most of Burns friends in high station quickly fell away , and his later visits to Edinburgh did not repeat the social success of the first.In 1788 Burns was given a commission as an excise officer, or tax inspector, and he settled

15、 down with Jean Armour, his former mistressnow his wifeat Ellisland, near Dumfries, combining his official duties with farming. This was the fourth farm on which Burns had worked; and when it, like the others, failed, he moved his family to the lively country town of Dumfries. Here he was fairly hap

16、py, despite recurrent illness and a chronic shortage of money. He performed his official duties efficiently and was respected by his fellow townspeople and esteemed by his superiors; he was a devoted family man and father; and he accumulated a circle of intimates to whom he could repair for conversa

17、tions and conviviality. In 1787 James Johnson, and engraver, had enlisted Burns aid in collecting Scottish folk songs for an anthology called The Scots Musical Museum. Burns soon became the real editor for several volumes of this work, devoting all of his free time to collecting, editing, restoring,

18、 and imitating traditional songs or writing verses of his own to traditional dance tunes. Almost all of his creative work, during the last twelve years of his life, went into the writing of songs for the Musical Museum and for George Thomsons Select Collection of Original Scottish Airs. This was for

19、 Burns a devoted labor of love and patriotism, done anonymously, for which he refused to accept any pay, although badly in need of money, and he continued the work when he was literally on his deathbed.Burnss best poetry was written in Scots, a northern dialect of English spoken by the peasants and

20、(on other than formal occasions) by most eighteenth-century Scottish gentlefolk as well. When Burns attempted to write in Standard English, the resultexcept in an occasional lyric such as the lucid and graceful Afton Water was stilted and conventional, with the stock phrasing, sententiousness, and s

21、entimentality of the genteel poetic tradition of his day. He is often considered a “pre-Romantic” who, anticipating Wordsworth, revived the English lyric, exploited the literary forms and legends of folk culture, and wrote in the language really spoken by the common people. This reputation is based

22、primarily on his songs. By far the major portion of the poems that Burns published under his own name are concerned with men and manners and are written in the literary forms that had been favored by the earlier eighteenth-century poets; they include brilliant satire in a variety of modes, a number

23、of fine verse epistles to friends and fellow poets, and one masterpiece of mock-heroic (or at least, semicomic) narrative, Tam oShanter. The claim could be supported that, next to Pope, Burns is the greatest eighteenth-century master of these literary types. Yet his writings in satire, epistle, and

24、mock-heroic are very remote from Popes in their heartiness and verve, no less than in their dialect and intricate stanza forms. The reason for the difference is that Burns turned for his models not to Horace and the English Neoclassic tradition but to the native tradition that had been established i

25、n the golden age of Scottish poetry by Robert Henryson, William Dunbar, Gavin Douglas, and other Scottish Chaucerians of the fifteenth and sixteenth centuries. He knew this literature through his eighteen-century Scottish predecessors, especially Allan Ramsay and Robert Ferguson, who had collected s

26、ome of the ancient poems and written new ones based on the ancient models. Burns improved greatly on these predecessors, but he derived from them much that is characteristic in his literary forms, subjects, diction, and stanzas. Burnss songs, however, are more widely known than his longer works and

27、have in themselves been adequate to sustain his reputation as a major poet. He wrote over three hundred of them, in unequalled abundance and variety. In his songs he gives himself whole-heartedly to the emotion of the moment, evoked by all the great lyric subjects: love, drink, work, friendship, pat

28、riotism, and bawdry. His poetic character is hearty, generous, rollicking, tender, with a sympathy that encompasses humans of all type, from national heroes to tavern roarers, like all the great poets of humanity, Burns had that poetical character which Keats described: “It lives in gusto, be it fou

29、l or fair, high or low, rich or poor, mean or elevatedit has as much delight in conceiving an Iago as an Imogen.” Burns is not only the national poet of Scotland but a song writer for all English-speaking people. Wherever in the world they may on New Years Eve, when, helped by drink and the reminder

30、 of their bondage to time, men and women indulge their instinct of a common humanity, they join hands and sing a song of Burns.Part II. More Poems of Robert BurnsMy Hearts in the HighlandsMy hearts in the Highlands, my heart is not here,My hearts in the highland a-chasing the deer; Chasing the wild

31、deer, and following the roe-My hearts in the Highlands wherever I go.Farewell to the highlands, farewell to the north,The birth-place of valour, the country of worth;Wherever I wander, wherever I rove,The hills of the highlands for ever I love.Farewell to the mountains high coverd with snow;Farewell

32、 to the straths and green valleys below;Farewell to the forests and wild hanging woods;Farewell to the torrents and loud-pouring floods.My hearts in the Highlands, my heart is not here,My hearts in the highland a-chasing the deer; Chasing the wild deer, and following the roe-My hearts in the Highlan

33、ds wherever I go.Questions:1. Where is the Highlands? What does the “Highlands” refer to?2. This poem follows a rigid rhyme scheme and metrical pattern. Does this help express the strong patriotic feelings of the poet?3. The first stanza is repeated at the end of the poem, and this is called the ref

34、rain. What is the function of the refrain?4. A number of natural images appear in this lyric, e.g. “highlands”, “hills”, “mountains”, “snow”, “straths”, “valleys”, “forests”, “woods”, “torrents”, “floods”, “deer”, and “roe”. Do these images make the lyric a nature poem?Scots Wha Hae1Scots, wha hae w

35、i Wallace2 bled, Scots, wham3 Bruce4 has aften led, Welcome to your gory bed Or to victorie! Nows the day, and nows the hour: See the front o battle lour,5 See approach proud Edwards power - Chains and slaverie! Wha will be a traitor knave? Wha will fill a cowards grave? Wha sae6 base as be a slave?

36、 - Let him turn, and flee! Wha for Scotlands King and Law Freedoms sword will strongly draw, Freeman stand or freeman fa,7 Let him follow me! By oppressions woes and pains, By your sons in servile chains, We will drain our dearest veins But they shall be free! Lay the proud usurpers low! Tyrants fal

37、l in every foe! Libertys in every blow! Let us do or dee! 题解:1. The above was one of Burns poems that did not sit well with the English rulers, south of the border. Any person reading it would assume it was a call to arms, possibly rebellion. Which even though the Scottish were now under the one fla

38、g of the United Kingdom, and had certain rights which made them distinct from the English, the time that this poem was written was too close to the rebellion of 1745. I will let the reader make up your own mind whether it is a poem of patriotism or something deeper. A little history may be in order

39、here to give you some understanding of the background to the poem. William Wallace was appointed Guardian of Scotland and Robert the Bruce, was a king of Scotland who lead the clans into battle with the English. Probably why they are so well remembered is that they beat the English soundly, and esta

40、blished Scotland as a power to be dealt with, at least until, like any political system, complacency and sloth set in. Edward was the king of England, with his powerful army.2. 此诗作于1793年,发表于1794年。苏格兰原系独立国家,1707年其为英国合并,引起苏格兰人民的激烈反对,到1745年还爆发了最后一次抗英起义。在这首诗里彭斯缅怀英烈,慷慨悲歌, 号召为自由而战。诗歌的特点是:每行音节不多(一般七个音节,每节第

41、四行只有五个音节,作为有力的一结),用字也少,但平行句成串出现,不断地问句像步步紧逼的挑战,节奏缓而有力,到每小节之末则又突然高昂,到全诗最后一行达到高潮,呼喊立即行动。Notes:1. Scots Wha Hae: Scots Who Have.2. Wallace, Sir William (12721305), Scottish patriot. He led the resistance to Edward I, whom he defeated at Stirling (1279). He was routed at Falkirk (1298) betrayed (1305) an

42、d executed in London.3. wham:whom; aften: often.4. Robert I the Bruce, (12741329), king of Scotland (130629). He was crowned in defiance of Edward I, and consolidated his hold on Scotland during the weak reign of Edward II, whom he heavily defeated at Bannockburn (1314). His title to the throne and

43、the independence of Scotland were officially recognized (1328).5. lour: lower; impending.6. sae: so.7. fa: fall.Afton WaterFlow gently, sweet Afton, among thy green braes, Flow gently, Ill sing thee a song in thy praise; My Marys asleep by thy murmuring stream, Flow gently, sweet Afton, disturb not

44、her dream. Thou stock-dove, whose echo resounds thro the glen, Ye wild whistling blackbirds in yon thorny den, Thou green-crested lapwing, thy screaming forbear, I charge you disturb not my slumbering fair. How lofty, sweet Afton, thy neighbouring hills, Far markd with the courses of clear winding r

45、ills; There daily I wander as noon rises high, My flocks and my Marys sweet cot in my eye. How pleasant thy banks and green valleys below, Where wild in the woodlands the primroses blow; There oft, as mild Evning sweeps over the lea, The sweet-scented birk shades my Mary and me. Thy crystal stream,

46、Afton, how lovely it glides, And winds by the cot where my Mary resides, How wanton thy waters her snowy feet lave, As gathering sweet flowrets she stems thy clear wave. Flow gently, sweet Afton, among thy green braes, Flow gently, sweet river, the theme of my lays; My Marys asleep by thy murmuring

47、stream, Flow gently, sweet Afton, disturb not her dream. 作品鉴赏关于对关雎诗义的理解 关雎以诗经首篇的显要位置,历来受人关注。但在诗经的研究史上,人们对关雎诗义的理解却多有分歧。毛诗序认为,这首诗是赞美“后妃之德”的,以为女子只有忠贞贤淑、含蓄克制,才能够配得上王侯。因此,把这首诗放在诗经之首,以明教化。鲁诗、韩诗都认为关雎是刺诗,讽刺国君内倾于色。也有学者认为关雎是婚恋诗。我们认为,对关雎应当从诗义和音乐两方面去理解。就诗义而言,它是“民俗歌谣”,所写的男女爱情是作为民俗反映出来的。相传古人在仲春之月有会合男女的习俗。周礼地官媒氏云:

48、“媒氏(即媒官)掌万民之判(配合)。中春(二月)之月,令会男女,于是时也,奔者不禁(不禁止私奔);若无故而不用令者,罚之,司男女之无夫家者而会之。”关雎所咏未必就是这段史事的记实,但这段史实却有助于我们了解古代男女相会、互相爱慕并希望成婚的心理状态和风俗习尚。文学作品描写的对象是社会生活,对社会风俗习尚的描写能更真实地再现社会生活,使社会生活融汇于社会风习的画面中,从而就更有真实感。关雎就是把古代男女恋情作为社会风俗习尚描写出来的。就乐调而言,全诗重章叠句都是为了合乐而形成的。郑樵通志乐略正声序论云:“凡律其辞,则谓之诗,声其诗,则谓之歌,作诗未有不歌者也。”郑樵特别强调声律的重要性。凡古代活

49、的有生气的诗歌,往往都可以歌唱,并且重视声调的和谐。关雎重章叠句的运用,说明它是可歌的,是活在人们口中的诗歌。 有人认为雎鸠本是凶猛之鸟,关雎乃是以雎鸠之求鱼以象征男子求爱的。而汉儒却视其为贞鸟,并解释“关关雎鸠为雌雄和鸣,以喻夫妻和谐。这种解释影响了中国历史两千多年。 关于关雎的分章问题 毛诗尾题:“关雎五章,章四句。故言三章,一章章四句,二章章八句。”陆德明经典释文认为:“五章是郑所分,故言以下是毛公本意。”按照陆德明的说法,关雎分五章,是郑玄分的,毛公本来是分三章的。此后,朱熹诗集传、陈奂诗毛氏传疏都接受了陆德明的说法,分关雎为三章。陆德明所言毛公分三章,郑玄分五章,不知何据。究竟最初关

50、雎分三章还是分五章,人们已无从考证。因此,关雎分章问题就成了诗经学史上的千古悬案。 关雎这首短小的诗篇,在中国文学史上占据着特殊的位置。它是诗经的第一篇,而诗经是中国文学最古老的典籍。虽然从性质上判断,一些神话故事产生的年代应该还要早些,但作为书面记载,却是较迟的事情。所以差不多可以说,一翻开中国文学的历史,首先遇到的就是关雎。 当初编纂诗经的人,在诗篇的排列上是否有某种用意,这已不得而知。但至少后人的理解,并不认为关雎是随便排列在首位的。论语中多次提到诗(即诗经),但作出具体评价的作品,却只有关雎一篇,谓之“乐而不淫,哀而不伤”。在他看来,关雎是表现“中庸”之德的典范。而汉儒的毛诗序又说:“

51、风之始也,所以风天下而正夫妇也。故用之乡人焉,用之邦国焉。”这里牵涉到中国古代的一种伦理思想:在古人看来,夫妇为人伦之始,天下一切道德的完善,都必须以夫妇之德为基础。毛诗序的作者认为,关雎在这方面具有典范意义,所以才被列为“风之始”。它可以用来感化天下,既适用于“乡人”即普通百姓,也适用于“邦国”即统治阶层。如此说来,关雎之义大矣!暂且撇下这种理解究竟有多少道理,先从诗歌本身说起。 关雎的内容其实很单纯,是写一个“君子”对“淑女”的追求,写他得不到“淑女”时心里苦恼,翻来覆去睡不着觉;得到了“淑女”就很开心,叫人奏起音乐来庆贺,并以此让“淑女”快乐。作品中人物的身份十分清楚:“君子”在诗经的时

52、代是对贵族的泛称,而且这位“君子”家备琴瑟钟鼓之乐,那是要有相当的地位的。以前常把这诗解释为“民间情歌”,恐怕不对头,它所描绘的应该是贵族阶层的生活。另外,说它是情爱诗当然不错,但恐怕也不是一般的爱情诗。这原来是一首婚礼上的歌曲,是男方家庭赞美新娘、祝颂婚姻美好的。诗经国风中的很多歌谣,都是既具有一般的抒情意味、娱乐功能,又兼有礼仪上的实用性,只是有些诗原来派什么用处后人不清楚了,就仅当作普通的歌曲来看待。把关雎当作婚礼上的歌来看,从“窍窕淑女,君子好逑”,唱到“琴瑟友之”、“钟鼓乐之”,也是喜气洋洋的,很合适的, 当然这首诗本身,还是以男子追求女子的情歌的形态出现的。之所以如此,大抵与在一般

53、婚姻关系中男方是主动的一方有关。就是在现代,一个姑娘看上个小伙,也总要等他先开口,古人更是如此。娶个新娘回来,夸她是个美丽又贤淑的好姑娘,是君子的好配偶,说自己曾经想她想得害了相思病,必定很讨新娘的欢喜。然后在一片琴瑟钟鼓之乐中,彼此的感情相互靠近,美满的婚姻就从这里开了头。即使单从诗的情绪结构来说,从见关雎而思淑女,到结成琴瑟之好,中间一番周折也是必要的:得来不易的东西,才特别可贵,特别让人高兴。 这首诗可以被当作表现夫妇之德的典范,主要是由于有这些特点:首先,它所写的爱情,一开始就有明确的婚姻目的,最终又归结于婚姻的美满,不是青年男女之问短暂的邂逅、一时的激情。这种明确指向婚姻、表示负责任

54、的爱情,更为社会所赞同。其次,它所写的男女双方,乃是“君子”和“淑女”,表明这是一种与美德相联系的结合。“君子”是兼有地位和德行双重意义的,而“窈窕淑女”,也是兼说体貌之美和德行之善。这里“君子”与“淑女”的结合,代表了一种婚姻理想。再次,是诗歌所写恋爱行为的节制性。细读可以注意到,这诗虽是写男方对女方的追求,但丝毫没有涉及双方的直接接触。“淑女”固然没有什么动作表现出来,“君子”的相思,也只是独自在那里“辗转反侧”,什么攀墙折柳之类的事情,好像完全不曾想到,爱得很守规矩。这样一种恋爱,既有真实的颇为深厚的感情(这对情诗而言是很重要的),又表露得平和而有分寸,对于读者所产生的感动,也不致过于激

55、烈。以上种种特点,恐怕确实同此诗原来是贵族婚礼上的歌曲有关,那种场合,要求有一种与主人的身份地位相称的有节制的欢乐气氛。而孔子从中看到了一种具有广泛意义的中和之美,借以提倡他所尊奉的自我克制、重视道德修养的人生态度,毛诗序则把它推许为可以“风天下而正夫妇”的道德教材。这两者视角有些不同,但在根本上仍有一致之处。 古之儒者重视夫妇之德,有其很深的道理。在第一层意义上说,家庭是社会组织的基本单元,在古代,这一基本单元的和谐稳定对于整个社会秩序的和谐稳定,意义至为重大。在第二层意义上,所谓“夫妇之德”,实际兼指有关男女问题的一切方面。“饮食男女,人之大欲存焉”(礼记礼运),孔夫子也知道这是人类生存的

56、基本要求。饮食之欲比较简单(当然首先要有饭吃),而男女之欲引起的情绪活动要复杂、活跃、强烈得多,它对生活规范、社会秩序的潜在危险也大得多,老夫子也曾感叹:“吾未见好德如好色者。”(论语)所以一切克制、一切修养,都首先要从男女之欲开始。这当然是必要的,但克制到什么程度为合适,却是复杂的问题,这里牵涉到社会物质生产水平、政治结构、文化传统等多种因素的综合,也牵涉到时代条件的变化。当一个社会试图对个人权利采取彻底否定态度时,在这方面首先会出现严厉禁制。相反,当一个社会处于变动时期、旧有道德规范遭到破坏时,也首先在这方面出现恣肆放流的情形。回到关雎,它所歌颂的,是一种感情克制、行为谨慎、以婚姻和谐为目

57、标的爱情,所以儒者觉得这是很好的典范,是“正夫妇”并由此引导广泛的德行的教材。 由于关雎既承认男女之爱是自然而正常的感情,又要求对这种感情加以克制,使其符合于社会的美德,后世之人往往各取所需的一端,加以引申发挥,而反抗封建礼教的非人性压迫的人们,也常打着关雎的权威旗帜,来伸张满足个人情感的权利。譬如牡丹亭中的杜丽娘,在被锁深闺、为怀春之情而痛苦时,就从关雎中为自己的人生梦想找出了理由当然,实际上她已经走得很远了。 词典解释 1. 诗周南篇名。为全书首篇,也是十五国风的第一篇。历来对这首诗有不同理解。 诗周南关雎序:“关雎,后妃之德也。风之始也,所以风天下而正夫妇也。”后汉书皇后纪序:“故 康王

58、 晚期,关雎作讽。”现代研究者或认为是写上层社会男女恋爱的作品。后世用此篇名作典故,含义也常不同。 (1)借指贤淑的后妃或后妃的美德。后汉书皇后纪上光烈阴皇后:“既无关雎之德,而有 吕 霍 之风。” 唐 张说 祈国公碑:“内被螽斯之德,外偃关雎之化。” (2)借指夫妇。 元 无名氏抱妆盒第四折:“多则是天生分福,又遇着姻缘对付,成就了麟趾关雎。”(3)借指淑女。玉娇梨第十九回:“久闻老先生令爱贤淑,有关雎之美,故托晚生敬执斧柯,欲求老先生曲赐 朱 陈 之好。”(4)借指正统的诗歌。 清 陈廷焯 白雨斋词话卷五:“率尔操觚,扬扬得意,不自知可耻。此关雎所以不作,此 郑 声所以盈天下也。” 2.

59、鸟名。鱼鹰。 宋王銍(字性之,自号汝阴老民) 默记卷中:“ 李公弼 见所谓鱼鹰者飞翔水际,问小吏,曰:此关雎也。”一说,非鸟名。 唐 颜师古 匡谬正俗关雎:“按,关关,和声;雎鸠,王雎。诗序总撮句内二字以为篇名耳,不得即呼雎鸠为关雎也。” 作品赏析关雎是风之始也,也是诗经第一篇。古人把它冠于三百篇之首,说明对它评价很高。史记外戚世家曾经记述说:“易基乾坤,诗始关雎,书美厘降夫妇之际,人道之大伦也。”又汉书匡衡传记载匡衡疏云:“匹配之际,生民之始,万福之原。婚姻之礼正,然后品物遂而天命全。孔子论诗,一般都是以关雎为始。此纲纪之首,王教之端也。”他们的着眼点是迂腐的,但对诗的本义的概括却基本正确。

60、问题在于它所表现的是什么样的婚姻。这关系到我们对风的理解。朱熹诗集传“序”说:“凡诗之所谓风者,多出于里巷歌谣之作,所谓男女相与咏歌,各言其情者也。”又郑樵通志乐略正声序论说:“诗在于声,不在于义,犹今都邑有新声,巷陌竞歌之,岂为其辞义之美哉?直为其声新耳。”朱熹是从诗义方面论述的,郑樵则从声调方面进行解释。我们把二者结合起来,可以认为风是一种用地方声调歌唱的表达男女爱情的歌谣。尽管朱熹对关雎主题的解释并不如此,但从关雎的具体表现看,它确是男女言情之作,是写一个男子对女子爱情的追求。其声、情、文、义俱佳,足以为风之始,三百篇之冠。孔子说:“关雎乐而不淫,哀而不伤。”(论语八佾)此后,人们评关雎

61、,皆“折中于夫子”(史记孔子世家)。但关雎究竟如何呢? 这首诗原是三章:一章四句,二章八句,三章八句。郑玄从文义上将后二章又各分为两章,共五章,每章四句。现在用郑玄的分法。第一章雎鸠和鸣于河之洲上,其兴淑女配偶不乱,是君子的好匹配。这一章的佳处,在于舒缓平正之音,并以音调领起全篇,形成全诗的基调。以“窈窕淑女,君子好逑”统摄全诗。第二章的“参差荇菜”承“关关雎鸠”而来,也是以洲上生长之物即景生情。“流”,毛传训为“求”,不确。因为下文“寤寐求之”已有“求”字,此处不当再有“求”义。“求”字是全篇的中心,整首诗都在表现男子对女子的追求过程,即从深切的思慕到实现结婚的愿望。第三章抒发求之而不得的忧

62、思。这是一篇的关键,最能体现全诗精神。姚际恒诗经通论评云:“前后四章,章四句,辞义悉协。今夹此四句于寤寐求之之下,友之、乐之二章之上,承上递下,通篇精神全在此处。盖必著此四句,方使下友、乐二义快足满意。若无此,则上之云求,下之云友、乐,气势弱而不振矣。此古人文章争扼要法,其调亦迫促,与前后平缓之音别。”姚氏对本章在全诗中的重要性分析最为精当。应当补充者,此章不但以繁弦促管振文气,而且写出了生动逼真的形象,即王士祯渔洋诗话所谓“诗三百篇真如画工之肖物”。林义光诗经通解说:“寐始觉而辗转反侧,则身犹在床。”这种对思念情人的心思的描写,可谓“哀而不伤”者也。第四、五章写求而得之的喜悦。“琴瑟友之”、

63、“钟鼓乐之”,都是既得之后的情景。曰“友”,曰“乐”,用字自有轻重、深浅不同。极写快兴满意而又不涉于侈靡,所谓“乐而不淫”。通篇诗是写一个男子对女子的思念和追求过程,写求之而不得的焦虑和求而得之的喜悦。 这诗的主要表现手法是兴寄,毛传云:“兴也。”什么是“兴”?孔颖达的解释最得要领,他在毛诗正义中说:“兴者,起也。取譬引类,起发己心,诗文诸举草木鸟兽以见意者,皆兴辞也。”所谓“兴”,即先从别的景物引起所咏之物,以为寄托。这是一种委婉含蓄的表现手法。如此诗以雎鸠之“挚而有别”,兴淑女应配君子;以荇菜流动无方,兴淑女之难求;又以荇菜既得而“采之”、“芼之”,兴淑女既得而“友之”、“乐之”等。这种手

64、法的优点在于寄托深远,能产生文已尽而意有余的效果。 这首诗还采用了一些双声叠韵的连绵字,以增强诗歌音调的和谐美和描写人物的生动性。如“窈窕”是叠韵;“参差”是双声;“辗转”既是双声又是叠韵。用这类词修饰动作,如“辗转反侧”;摹拟形象,如“窈窕淑女”;描写景物,如“参差荇菜”,无不活泼逼真,声情并茂。刘师培论文杂记云:“上古之时,谣谚之音,多循天籁之自然,其所以能谐音律者,一由句各叶韵,二由语句之间多用叠韵双声之字。”此诗虽非句各叶韵,但对双声叠韵连绵字的运用,却保持了古代诗歌淳朴自然的风格。 用韵方面,这诗采取偶句入韵的方式。这种偶韵式支配着两千多年来我国古典诗歌谐韵的形式。而且全篇三次换韵,又有虚字脚“之”字不入韵,而以虚字的前一字为韵。这种在用韵方面的参差变化,极大地增强了诗歌的节奏感和音乐美。 对关雎,我们应当从诗义和音乐两方面去理解。就诗义而言,它是“民俗歌谣”

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