盛唐诗外文翻译资料
2022-12-29 11:40:37
盛唐诗
外文文献翻译
第一章 初唐和盛唐
七至八世纪间,中国诗歌发生了一些重要的、基本的变化。在七世纪初期,诗歌基本上是作为一种程式化的社交形式,主要创作于宫廷圈子里。到了八世纪末,诗歌虽然保留了社交功用,但同时还变成了一种包容多种目标的自觉艺术形式,为广大范围的中国文人所实践。在古代中国,诗歌从未被看成西方意义上的自足的“纯艺术”,它总是与具体事件联系在一起,与表现内在情性或持久的文化法则的诗歌观念联系在一起。不过,在这两个世纪的发展过程中,诗歌从一种次要的娱乐品转变成一种全面体现上述个人的、社会的、文化的价值观的艺术。
初唐宫廷诗严格限制诗歌的创作场合、主题、措词和结构。这是一种在写作过程中获得极大乐趣的诗歌,其质量根据符合既定判断标准的程度而定。不过,初唐诗的历史主要是这种诗歌旧世界被突破的历史,这一旧世界受到来自两方面的威胁:攻击它的文章和诗人本身日益增加的个性。但是,重大的变化要迟至八世纪二三十年代才出现,这就是盛唐的开始。
盛唐开始于对初唐的沉默反叛。没有宣言,没有对前一时代的指责;事实上,盛唐的第一代诗人甚至几乎无视初唐前辈的存在,宁可越过他们而回瞻更远的先辈。然而,反叛本是一种密切关联的形式,不管盛唐诗发生了多少变化,其来源是明摆着的:它沿袭了初唐的诗歌传统。盛唐的律诗源于初唐宫廷诗;盛唐的古风直接出自初唐诗人陈子昂和七世纪的对立诗论[1];盛唐的七言歌行保留了许多武后朝流行的七言歌行的主题、类型联系及修辞惯例[2];咏物主题的各种惯例,送别诗的习见忧伤,及山水旅行诗的形式结构,这一切都植根于初唐诗。
另一方面,在八世纪二三十年代,初唐风格发生了根本的改变,许多新的要素确实产生了。这些变化的性质部分是由对初唐诗歌的强烈不满决定的,尤其是对宫廷诗矫饰拘谨形式的不满。这种对宫廷诗人艺术的同样不满曾经是初唐自身的一个重要方面,但是这一对立冲力大部分被消耗于无效的论争上。
经过八世纪的开头几十年,这种对立的冲动找到了具体诗歌表达的新自由。如果说初唐诗人为规范所限制,那么盛唐诗人则向往突破规范——包括文体方面的惯例和主题方面的狂士风度。如果宫廷信仰贵族社会及其氛围,盛唐诗人就会把兴趣转向下层社会及其生活,在他们身上发现真正的高贵精神。如果宫廷诗人骄傲地坚持矫揉造作的形式,盛唐诗人会喜欢朴素和直率。如果初唐诗人蔑视新奇的隐喻表达和巧妙结撰的文体,那么唐朝诗人就喜欢它们。如果初唐诗人认为诗歌本质上是一种社交现象,那么盛唐诗人就被个人价值观和隐逸主题所吸引,甚至在社交诗歌中也是如此。
盛唐诗人从对立冲力中寻获的解放既不持久也不普遍,但这一冲力有助于说明盛唐诗中采取的复杂的、经常是矛盾的方向。特别是在盛唐的头几十年,新的诗歌被统一于对初唐的否定联系;复古观念的严肃说教和对流行歌谣的兴趣(为复古所厌弃),可以肩并肩地反对宫廷诗的贵族规范。最好的盛唐诗人掌握了宫廷诗人的全部技巧范围(宫廷诗是一种包括了相当大范围的复杂技巧),但他们还能够忽略或矫正这种技巧的细节,产生出一种宫廷诗人所未有过的完美技巧和控制力。
与诗歌形式、主题及观念的变化相应,诗歌的社会基础也发生了深刻的变化。在初唐,诗歌创作的中心是在宫廷和王府。在七世纪前半叶,诗人们往往是南朝旧文学家族的成员,在文学训练上有着突出的延续性,在认可的实践上有着明显的保守性。王室成员及其宠贵支持着这一传统,诗人们要想获得赏识和提升,就要依靠他们。
七世纪末至八世纪初,一系列事件戏剧性地改变了这种形势。在680年,诗歌写作被引入了进士考试。[3]进士考试的目标特别在于接受非出身于京城大家族的士人,使他们成为政府官员的候选者。那些大家族拥有各种特权,得以确保其权势及对中央政府的参与延续不绝。虽然他们也广泛地利用了进士考试,但进士考试被认为主要是向寒族和大家族的远支开放的道路,使他们得以进入中央政府。进士考试引进诗歌的举措,强烈地诱发起对于诗歌技巧的广泛兴趣。
经由进士考试,加上他们自己的放纵作风,武后和她的几个佞臣提供了一些出身较为寒微的诗人。其中的两位诗人张说和张九龄成为玄宗朝的宰相,他们继续扶持出身寒族的诗人。随着宫廷旧文学家让出了批评鉴赏及伴随的扶持特权,新的、较不严格的评价标准被应用于诗歌。在开元时期(713-741)出名的诗人大多得到过张说或张九龄的扶持,而这两位宰相的出色评判对盛唐风格的发展起到了重要的作用。
玄宗于722年发布的诏令给予旧的诗歌社会秩序以最后的致命打击。这一诏令禁止诸王的大量宾客,从而结束了宫廷诗的一个重要支持根源,关闭了在京城获得诗歌声誉的旧途径。所有这些新条件不仅改变了产生诗人的社会阶层,而且改变了大部分诗歌的写作背景。
盛唐诗从初唐诗的贵族世界中脱离出来,最明显地体现在五个方面:
The Great Age of Chinese Poetry:the High Tang 外文文献原文 First chapter :Early Tang and High Tang During the seventh and eighth centuries, major and fundamental changesoccurred in Chinese poetry (shih #). In the early seventh century, poetrywas primarily a stylized form of social discourse practiced mainly in courtcircles. By the end of the cighth century, poetry, while retaining its func-tion as social discourse, had also become a conscious art form serving avariety of ends and practiced by a wide range of literate Chinese. Neverin traditional China was poetry an autotelic "pure art" in the Westernsense: it was bound both to occasion and to concepts of poetry as the ex-pression of inner nature or as a vehicle for the enduring principles of thecivilization But during the course of these two centuries, poetry was trans-formed from a minor diversion to an art that fully embodied these private,social, and cultural values. The court poetry of the Early Tang rigidly circumscribed the occasions for composition, the topics, the diction, and the structure of poetry.It was a poetry to be enjoyed most at the time of composition, and itsquality depended on the fulfillment of clear standards of judgment. Butthe history of Early T ang poetry is primarily a history of the breakdownof that old world of poctry, which was thrcatcncd both by prose polemicsagainst it and by an increasing individuality in the poets themselves. Majorchanges, however, awaited the second and third decades of the eighthcentury, the beginning of the High Tang. The High Tang began in mute rebellion against the Early Tang.There were no manifestos, no denunciations of the preceding age; in fact,the first generation of High Tang poets rarely acknowledged even theexistence of their Early Tang predecessors, preferring to look past them tomore remote ancestors. Rebellion is a form of close relationship, however,and despite all the changes in High Tang poetry, its paternity is unmis-takable: its poetic tradition was that of the Early Tang. High Tang regu-lated verse (lü-shih ##) had its origins in Early Tang court poetry; theHigh Tang ku-feng t m came directly from the Early Tang poet ChenTzu-ang R f 3 and the opposition poetics of the seventh century.1 Theheptasyllabic songs of the High Tang retained many of the topics, modalassociations, and conventions of diction of the heptasyllabic songs popularin Empress Wus reign.? The conventions of a yungwu 390 topic (anobject or phenomenon. the common consolations in parting poems,and the formal structure of a journey through a landscapc all had theirroots in the poetry of the Early Tang. On the other hand, during the second and third decades of the eighthcentury, the Early Tang style was radically modified, and genuinely ncwelements were introduced. The nature of these changes was in part deter-mined by a deep dissatisfaction with Early Tang poetry, particularly withthe constricting formality of court poetry. The same dissatisfaction withthe court poets art had been one important aspect of the Early Tang itself,but the antithetical impulse had largely been lost in sterile polemics. Through the early decades of the eighth century, this antithetical impulse found a new freedom of concrete poetic expression. If the EarlyTang poet was bound by decorum, the High Tang poet was fascinatedby the lack of decorum - both in stylistic convention and thematically inthe exaggerated gestures of the eccentric. If the court poct was committedto aristocratic society and its ambience, the High Tang poet turned hisinterest to lower social types and their life, finding in them a true aristoc-racy of the spirit. If the court poet proudly held to mannered formality,the High Tang poet would love what was plain and straightforward. Ifthe Early Tang poet disdained the showiness of bold metaphors and sty-listic tours de force, then the High Tang poet delighted in them. If theEarly Tang poet 5aw poetry as essentially a social phenomenon, then theHigh Tang poet was drawn to private values and themes of reclusion,even in 5ocial poetry. The liberation that High T ang poets found in the antithetical impulsewas neither constant nor universal, but that impulse helps to explain themultiple, often contradictory directions that High Tang poetry took, Par-ticularly in the early decades of the High Tang, the new poetry was unifiedby its negative relationship to the Early T ang: the stern moralizing of theJhuku sentiment (pp 891 and an interest in popular songs (anathema tofu-ku) could stand side by side as gestures against the aristocratic decorumof court poetry. The best High Tang poets possessed the full technicalrange of the court poet and court poetry was a complex craft with considerable range- but High Tang poets were also able to ignore or modifydetails of that craft, producing a virtuosity and control that no court poetpossessed. Parallel to the changes in forms, themes, and the conception of poetry,a profound change tok placc in the social basis of poetry. During theEarly Tang the center of poetic composition had been the imperial courtand the lesser courts of imperial princes and princesses. During the. First half of the scventh century, poets were often members of the old literaryfamilies of the Southern Dynasties, and there was a strong continuity inpoetic training as well as a conservatism in approved practice. This tradition was supported by members of the royal farmily and their favorites, onwhom poets depended for appreciation and advancement. During the late seventh and early eighth centuries, a series of eventschanged the situation dramatically. In 68o poetic composition was intro-duced into the chinshih examination.- The chinshih examination wa
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- 贬谪诗的传统
- 隐逸与陶潜的复兴
- 日常应景诗
- 古风
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The Great Age of Chinese Poetry:the High Tang 外文文献原文 First chapter :Early Tang and High Tang During the seventh and eighth centuries, major and fundamental changesoccurred in Chinese poetry (shih #). In the early seventh century, poetrywas primarily a stylized form of social discourse practiced mainly in courtcircles. By the end of the cighth century, poetry, while retaining its func-tion as social discourse, had also become a conscious art form serving avariety of ends and practiced by a wide range of literate Chinese. Neverin traditional China was poetry an autotelic "pure art" in the Westernsense: it was bound both to occasion and to concepts of poetry as the ex-pression of inner nature or as a vehicle for the enduring principles of thecivilization But during the course of these two centuries, poetry was trans-formed from a minor diversion to an art that fully embodied these private,social, and cultural values. The court poetry of the Early Tang rigidly circumscribed the occasions for composition, the topics, the diction, and the structure of poetry.It was a poetry to be enjoyed most at the time of composition, and itsquality depended on the fulfillment of clear standards of judgment. Butthe history of Early T ang poetry is primarily a history of the breakdownof that old world of poctry, which was thrcatcncd both by prose polemicsagainst it and by an increasing individuality in the poets themselves. Majorchanges, however, awaited the second and third decades of the eighthcentury, the beginning of the High Tang. The High Tang began in mute rebellion against the Early Tang.There were no manifestos, no denunciations of the preceding age; in fact,the first generation of High Tang poets rarely acknowledged even theexistence of their Early Tang predecessors, preferring to look past them tomore remote ancestors. Rebellion is a form of close relationship, however,and despite all the changes in High Tang poetry, its paternity is unmis-takable: its poetic tradition was that of the Early Tang. High Tang regu-lated verse (lü-shih ##) had its origins in Early Tang court poetry; theHigh Tang ku-feng t m came directly from the Early Tang poet ChenTzu-ang R f 3 and the opposition poetics of the seventh century.1 Theheptasyllabic songs of the High Tang retained many of the topics, modalassociations, and conventions of diction of the heptasyllabic songs popularin Empress Wus reign.? The conventions of a yungwu 390 topic (anobject or phenomenon. the common consolations in parting poems,and the formal structure of a journey through a landscapc all had theirroots in the poetry of the Early Tang. On the other hand, during the second and third decades of the eighthcentury, the Early Tang style was radically modified, and genuinely ncwelements were introduced. The nature of these changes was in part deter-mined by a deep dissatisfaction with Early Tang poetry, particularly withthe constricting formality of court poetry. The same dissatisfaction withthe court poets art had been one important aspect of the Early Tang itself,but the antithetical impulse had largely been lost in sterile polemics. Through the early decades of the eighth century, this antithetical impulse found a new freedom of concrete poetic expression. If the EarlyTang poet was bound by decorum, the High Tang poet was fascinatedby the lack of decorum - both in stylistic convention and thematically inthe exaggerated gestures of the eccentric. If the court poct was committedto aristocratic society and its ambience, the High Tang poet turned hisinterest to lower social types and their life, finding in them a true aristoc-racy of the spirit. If the court poet proudly held to mannered formality,the High Tang poet would love what was plain and straightforward. Ifthe Early Tang poet disdained the showiness of bold metaphors and sty-listic tours de force, then the High Tang poet delighted in them. If theEarly Tang poet 5aw poetry as essentially a social phenomenon, then theHigh Tang poet was drawn to private values and themes of reclusion,even in 5ocial poetry. The liberation that High T ang poets found in the antithetical impulsewas neither constant nor universal, but that impulse helps to explain themultiple, often contradictory directions that High Tang poetry took, Par-ticularly in the early decades of the High Tang, the new poetry was unifiedby its negative relationship to the Early T ang: the stern moralizing of theJhuku sentiment (pp 891 and an interest in popular songs (anathema tofu-ku) could stand side by side as gestures against the aristocratic decorumof court poetry. The best High Tang poets possessed the full technicalrange of the court poet and court poetry was a complex craft with considerable range- but High Tang poets were also able to ignore or modifydetails of that craft, producing a virtuosity and control that no court poetpossessed. Parallel to the changes in forms, themes, and the conception of poetry,a profound change tok placc in the social basis of poetry. During theEarly Tang the center of poetic composition had been the imperial courtand the lesser courts of imperial princes and princesses. During the. First half of the scventh century, poets were often members of the old literaryfamilies of the Southern Dynasties, and there was a strong continuity inpoetic training as well as a conservatism in approved practice. This tradition was supported by members of the royal farmily and their favorites, onwhom poets depended for appreciation and advancement. During the late seventh and early eighth centuries, a series of eventschanged the situation dramatically. In 68o poetic composition was intro-duced into the chinshih examination.- The chinshih examination wa
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资料编号:[276553],资料为PDF文档或Word文档,PDF文档可免费转换为Word
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