原型批评理论视域下宋代诗词树木意象蕴含——以苏轼作品为例

The Implication of Tree Images in Song Dynasty Poetry from the Perspective of Archetypal Criticism Theory—Taking Su Shi’s Works as an Example

诺斯洛普·弗莱于20世纪60年代首倡原型批评理论,荣格将集体无意识谓之原型,认为原型是从远古便普遍存在的意象,是一种民族记忆。作为文学意象,树木意象早在《诗经》《楚辞》里就有了,到了宋代,诗词里的树木意象更是丰富多彩,仅苏轼的作品中树木意象就占了很大比例。这些树木意象有着极重要的文化内涵,既有生态价值,也有实用价值,树木见证了岁月更替,是历史烽烟的记录。苏轼对树木的欣赏模式众多,有如画模式、比德模式、天成模式等,这些树木意象底蕴充盈,写树木就是写自己,苏轼用自己的创作印证了原型原理,表达了自己的文学理想。

In the 1960s,Northrop Frye first advocated the theory of archetypal criticism.Jung referred to collective unconsciousness as archetype,believing that archetype was a common image that existed from ancient times and was a form of national memory.The recurring tree imagery in Song Dynasty poetry is both realistic and historical,hiding primitive imagery.Any image prototype has a process of occurrence and development,and the Song Dynasty inherited and expanded the connotation of tree imagery from previous generations.Trees have both ecological and practical value,witnessing human suffering and glory until the end of time.Trees are the true friends of humanity,and the cultural connotations of tree imagery are rich,gathering the beacon of history.The same image,different emotions,and diverse ways and paradigms of appreciation can also be achieved.The trees depicted by Su Shi are witnesses of the burning of his own life and the materialization of countless hardships.Writing about trees is about writing about himself.Su Shi confirmed the prototype principle with his own creation and expressed his literary ideals.