李清照、欧阳修闺情词比较

Comparison of the Li Qingzhao and Ouyang Xiu's Boudoir Ci

闺情文学在我国古典文学发展史上源远流长。晚唐五代时期,以温庭筠为首的花间词派和以冯延巳为首的南唐词人全力写艳词,他们的一部分词作模拟女性心态写她们的恋情、她们的相思,其影响之深,以至北宋一代,这种男子而作闺词的现象成为一股创作潮流。在北宋闺情词创作中,欧阳修上承花间,下启婉约,成就斐然,女性作家中李清照的创作最引人瞩目,由于这两位善写闺情词的大师,一位是从自身角度出发抒情感怀,一位是模拟女性心态而作,在创作上有着明显的不同,故而文章针对这两位作家的闺情词创作从创作动机、创作内容等方面比较他们的异同。

During the development of Chinese ancient literature,boudoir literary history has its long history.In late Tang Dynasty and five dynasties period,the flower group led by Wen Tingjun and Feng Yan si sent word to practice colourful words,part of the colourful word wrote their analog female mentality relationships,their longing,its deep influence came to the generation song,the phenomenon that male colorful words became a creation tide.In the creation of the Northern Song Dynasty,Ouyang Xiu,connecting the flowers group with the gracefuls,graceful and restrained bearing achievements,among female writers,the most outstanding Li Qingzhao had attracted great attentions,because one expessed feelings and recollections from own angle,one simulated the feminine point of view,in their boudoir ci,their creation had the obvious differences.According to the two writers,this paper makes a comparation about the creative content and motivation and gives their similarities and differences.