摘要
与何逊一样,阴铿也是继谢灵运、谢朓之后中国山水诗发展的有力继承者,在中国山水文学发展史上占有独特的地位。阴铿以写景见长,尤善于描写江上景色,并将写景与游子的离愁别绪、羁旅思乡之情相交融,形成更为动人的境界。在写作上注意提炼意象、锤锻字句,而且在对仗、音韵等方面花费了更多的功夫,因而也更接近唐律。可以说古诗主要是在阴铿等的手里转向近体诗的。
As the same as Hexun, Yinkeng was a powerful successor in the Chinese Landscape poem development, after Xie Lingyun and Xietiao, holding the unique status in the literary landscape in the history of the development of China. Known Yinkeng to landscapes, He is good at describing in especially the river scenery, and will describe the scenery with blending decoy ' s sorrow of parting separation and living abroad sentiment of the homesickness, forming a more moving Realm. Pays attention to the refinement image, the hammer forging words and expressions in writing, moreover he has spent more times in aspects and so on antithesis, sound, thus also closer to Tang law. It can be said the ancient poetry changes into modern style poetry mainly in his hand and so on.
出处
《上海师范大学学报(哲学社会科学版)》
CSSCI
北大核心
2007年第2期42-45,共4页
Journal of Shanghai Normal University(Philosophy & Social Sciences Edition)
关键词
阴铿
山水诗
意象
对仗
音韵
近体诗
Yinkeng, landscape poem, image, antithesis, sound, modern style poetry