何处是归程:苏轼诗词中鸿雁意象的诗意阐释

Where will the poetic return journey be:Poetic interpretation of the swan goose image in SuShi's poetry

苏轼一生宦海沉浮的漂迫经历所形成的"天涯倦客"般的自我认知,使他的诗词世界中频繁地出现了各种存在形态的鸿雁意象。孤鸿意象成了苏轼个体人格的最好比拟;雪泥鸿爪之喻则典型地体现了苏轼强烈的人生如寄思想;对生命存在的悲剧性体验与深层喟叹使他在归鸿意象中体现出较为纯粹的精神式盼归之情;最后,苏轼在将道的超越精神与儒的创造精神和佛的隐忍精神三者合而为一的过程中,在经历了"壮心—忧心—倦心—心安"的内在心路发展演变后,终于在"吾心安处是吾乡"的超越中,为自我生命找到了最后的诗意栖居之所。这也使得苏轼诗词中的鸿雁意象不但继承发展了宋代之前中国古典诗词中鸿雁意象所传递出来的多元文化意蕴,而且也展现了苏轼在不同生命历程阶段对自我及宇宙人生的深刻思考与体悟。

The forced floating experience in SuShi’s life formed his self-awareness as a loner in the universe,which resulted in the frequent appearances of different kinds of swan goose images in his poetry.Among these images,solitary swan goose best symbolizes SuShi’s individual personality,swan goose leaving paw prints in the snow typically embodies SuShi’s thoughts that life is but boarding,and swan goose returning home expresses his relatively pure sentiment of longing for coming home as SusShi experiences and understands that life is a tragic existence.Finally,SuShi,after undergoing the four stages in his spiritual development of“aspiring,worrying,being tired and attaining peace,”reaches the transcendence that wherever the heart rests is home,and finds for his self-being the last poeticdwelling in a three-in-one commixture of transcendental Taoism,creative Confucianism and enduring Buddhism.The swan goose images in SuShi’s poems not only inherit and develop the multiple cultural implications of swan goose in Chinese classic poetry before Song Dynasty,but also expose SuShi’s profound pondering and understanding about himself and life at different stages of his life.