摘要
在道教文化的影响下,李白从神仙道教的角度驾驭神仙题材来传达其思想感情,吸收《楚辞》游仙的精神内核与表达形式,突破了六朝以来一味升登求仙而企慕长生的游仙题材与颇为单纯的游仙意象,结合自身遭遇,融合现实时事,在浓烈的性情中涂抹上相当个性化的梦幻色彩。在诗人"仙"气弥漫的梦幻世界里,别具三种游仙文化形态,即:超凡之人、奇幻之境与至诚之情,同时又创造了"以幻写仙"、"以梦写仙"与"以游写仙"的三种抒写游仙世界的新异模式,呈现出丰富多彩的游仙面貌与深刻意境。其才力之大、想象力之丰、个性之显,无愧"诗仙"之名,而其广阔的堂庑,既为道教神仙世界努力拓展人性化的空间,也为游仙诗史竖起了一座继往开来的丰碑,具有不朽的诗学价值与审美意义。
Under the influence of Taoist culture, Li Bai applied fairy stories to convey his own feelings and ideas, absorbing the spirits of Chuci and its ways of expressions. Li' s poems make breakthroughs in com- bining self experiences with realities, which are different from the themes of longing for longevity in Liuchao period. Li' s poems have his own individuality: unworldly people, fantastic situation and sincere emotions. At the same time, he originated three ways of describing the fairy world, such as describing gods in fantasy, dream and travel. With his unusual talent, imagination and personality, he deserves the crown of fairy poet. Li Bai' s fairy poems not only give Taoist culture humane space but set up the milestone of poetic values and aesthetic meaning for the late-coming literature works.
出处
《毕节学院学报(综合版)》
2013年第12期116-120,共5页
Journal of Bijie University
基金
国家社科基金后期资助项目"风骚诗脉与唐诗精神"阶段性成果之一
项目编号:13FZW010
关键词
李白
游仙诗
游仙形态
抒写模式
人格化
丰碑
Li Bai
Fairy Poems
Fairy Styles
Patterns
Personification
Milestone