中、晚唐诗人“风”、“骚”情结简论

A Brief Discussion of the Complexes of "Feng" and "Sao" in the Middle-and Late-Tang Dynasty Poets

从中唐元稹、白居易写实派,到古文运动领袖韩愈、柳宗元风雅"美刺"比兴的积极倡导,再到晚唐皮日休、陆龟蒙等人"颂美讽刺"的文学主张,均是《诗经》精神的最好体现。至于屈骚精神,则得到了中、晚唐诗人普遍而自觉的接受。韩愈、柳宗元继承并发扬了屈原"发愤以抒情"的言说方式,揭露黑暗,反映社会,具有现实主义精神。杜牧、李贺、李商隐、皮日休、陆龟蒙等优秀诗人,或追慕屈骚精神,或力仿屈骚作品,或承传"香草美人",或同情屈原遭遇,屈骚精神得到了人们普遍的称颂与赞美,并取得"风骚共一源"的认同,尤其是屈原为唐哀帝诏封为昭灵侯之后,屈原形象则更是空前高大。

From the realist poets Yuan Shen and Bai Juyi in the Middle Tang Dynasty, to Han Yu, the leading figure in the Classical Prose Movement, to Liu Zongyuan who advoeatedg elegant satires, and to Pi Rixiu and Lu Guimeng who employed satires by means of praising the good, we can all find the spirits best demonstrated in the The Classic Book of Songs. Qu Yuan＇s spirit was lauded spontaneously by the poets in the Middle and Late Tang dynasties. As a result, many talented poets admired Qu＇s spirits, modeled after his works, sympathized with his situation, or carried on his writing style, rendering ＂Feng literary style＂ and ＂Sao literary style＂ literally the same writing style. Hence, Qu＇s image became all the more great, especially when Emperor Ai of the Tang Dynasty granted the late Qu the title of Duke of Zhaoling.