诗意的草——关于屈原作品香草描写的两点认识

Poetic Sentiment Grass——Two understandings on the description of sentiment grass in Qu Yuan's works

嗅觉在日常生活中的作用远逊于视觉和听觉,但由于受楚国地理环境、社会风气及个人敏锐的艺术感受力影响,屈原作品中嗅觉审美超越视、听等感官审美,处于异常重要的地位,因而,用“惊采绝艳”这种以视觉审美为中心的语汇来概括屈原作品的特征,就不能充分揭示出作者的艺术个性。《诗经》和屈原作品都用了许多草木意象来比兴,两种比兴在内涵及历史命运上的不同也是显然的,一般认为这种不同是两部作品产生时代相差约三百年,人的思维水平发展了的缘故。其实不然,这种不同是由两部作品的作者分别处在不同的方位立场造成的:一个是民间立场,一个是士大夫文人立场。

First, in people＇s daily life, the function of the sense of smell is far inferior to that of the sense of vision and hearing, yet due to the influence of geographical environment in Chu country, the social conventions and unique art sensibility, Qu yuan put sense-of-smell-centered aesthetic in much more significant place than that of the sense of vision and hearing. In this sense, the kind of words aesthetically centered on the sense of vision like ＂Jingcai Jueyan＂ can not summarize the artistic characteristics in Qu Yuan＇s works and can not fully unveil Qu yuan＇s art individuality. Second, the use of metaphors by vegetation images the historical are popular destiny are both in ＂book of Poetry＂ and in Qu Yuan＇s works, yet their connotations and apparently different. People commonly think this kind of difference comes from the time difference of 300 years when two works were produced, and therefore, human＇s ideology is not at the same level. The author doesn＇t agree on the viewpoint and proposes that this difference lies in the different cultural standpoints of the authors of the two works： one is the folk-custom culture standpoint, and the other is the scholar-bureaucrat culture standpoint.