柳宗元心理空间原点与审美观照方式的矛盾探究——基于“永州八记”与《囚山赋》等骚赋对读

Explore the Contradictions in Liu Zongyuan's the Origin of Psychological Space and the Aesthetic Consideration Method based on the Comparative Reading of"The Eight Notes of Yongzhou"and"Qiushan Fu"

“永州八记”是柳宗元代表性的山水游记散文,其骚赋《囚山赋》同样作于永州,此二者虽同写一地之景,却在空间感上有大小之异、原点定位之区分,在观察视点上有俯察仰观之不同、“旷如”“奥如”之别等种种矛盾。正如章士钊在《柳文指要》中所指出的,“将《永州八记》与《囚山赋》对读,同一地也,而所处者感情之向背,如此其风马牛不相及”,然此种“乐”“囚”心情之差却是“罪人”身份的自陈和“羁囚”心理的经久延续而呈现出的两种不同表现形式。

The Eight Notes of Yongzhou is a representative prose of Liu Zongyuan's landscape travel notes,and his prose Qiushan Fu is also written in Yongzhou.Although they both write about the same scenery,there are differences in spatial sense,differences in origin positioning,differences in observation perspectives,and various contradictions such as"Kuangru"and"Aoru".As Zhang Shizhao pointed out in Liuwen Zhiyao,"Comparing The Eight Notes of Yongzhou with Qiushan Fu,the two depicted the same place,but the emotions of those who are in the opposite direction are not in line with each other."However,these differences between the mood of"happiness"and"imprisonment"are two different manifestations of the self-presentation of the identity of"sinner"and the long-lasting continuation of the psychology of"prisoner".