顾炎武《过苏禄国王墓》与田雯《苏禄王画像歌》诠释与对比

Interpretation and Comparison between Gu Yanwu’s Crossing the Tomb of King Sulu and Tian Wen’s Portrait Song of King Sulu

顾炎武与田雯在德州文化历史的"在场"中直面眼前所呈现的苏禄王墓,以经验的直接性、无遮蔽性和敞开性,敏锐地发现德州十二连城和苏禄王墓在物理距离上相近,在事件主体上相关。顾炎武与田雯通过对"苏禄王"咏史诗的创作,对比联系"燕王朱棣"和十二连城,"永乐皇帝"和苏禄王墓这两对关系,揭示苏禄国朝拜明朝廷及明朝廷对苏禄王立墓树碑的文化意义,并对永乐皇帝进行不同程度的批判。儒家的"民本"思想,在顾炎武与田雯的诗墨笔触中一览无余,读者对其文本进行"诠释学循环"的解读,能够更多展开文本所呈现出的历史意义并使诗歌的史实价值进一步得到澄明。

Gu Yanwu and Tian Wen, facing the presence of the king of the Sulu king in the presence of Dezhou culture and history, reveal the cultural significance of the tomb of the king’s Tomb of the Sulu Kingdom and the Ming court with the directness, openness and openness of experience. The "people-oriented" thought of Confucianism can be seen in Gu Yanwu’s and Tian Wen’s poems and ink strokes. Readers’ interpretation of their texts through "hermeneutic cycle" can expand the historical significance of the text and further clarify the historical value of poetry.