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胡世豪

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China, the difference between poetry and western poetry From the comparison of the many poems can be seen in common between the two, but it is not difficult to find the difference between the There is this huge difference is that by essentially different, a different form of thinking brought Lyrical poems paint a portrait of the Chinese are good at, focus on the creation of a mood, the pursuit of the Italian words have done unfinished effect, people have a boundless British and American poetry is heart-oriented description of the scene evoked responses in people, to express themselves from the subjective This is caused by the difference between the different modes of Pay attention to subtle Chinese poetry to short for the United States, while British and American poetry is relatively unrestrained, mainly to feelings of Very prominent example is the treatment of love, in Poetry in the West this can be fully Chinese poets about love, "only under the brow, but our hearts," do not always express that love, while Western poets shouting "You are my sun, the fire of love I felt too anxious 。"--- this you Translation afford to get, not rows and leave it there Care more for the Chinese poetry of statement, or a lyric by King, forever buried in the poet's feelings into poetry, such as Ma Zhiyuan, "Tian Jing Sha • Autumn Thoughts", he almost did not express their feelings with a word, but the "Kuteng "," Old Tree "," faint crow "is appropriately arranged together simply to render the lonely, bleak atmosphere, before and after a few phrases feel like there is no direct contact, but feelings are coherent, breath read down, as if he is the poet of the people depicted in the picture, causing a strong But dozens of still life of a tie, although there is no subjective feelings, the language must be more than the expression of a strong feeling of desolate loneliness, this is the charm of Chinese classical In contrast, Anglo-American emphasis on modern poetry written in the individual in society fractional human psychology, more forthright expression of the poet's meaning to be

中西方诗歌比较论文英文800字怎么写的

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mysharing

中国是诗的国度,其文苑中的诗词奇葩,为千百年来大众所喜爱,且至今不衰,如果我们把它与西方的诗并在一起,“以平情的观察,冷静的分析,科学的认识,理智的沉思,去进行比较研究”,也许能得出较多理性的结论。  然而要在有限的篇幅内,对中西诗歌的各个方面进行一番综合的比较,就很难不泛泛而谈且流于肤浅。“与其要肤浅的全面,不如要深刻的片面”,基于这种想法,本文拟就中西爱情诗歌这个题材作一番考察。  大家知道,爱情,曾被人们公认为文学中“永恒的主题”,它一经灵心善感的诗人吟咏挥毫,进行精湛的艺术加工,最易引起读者心灵的共鸣,中西爱情诗中那些情真意深,字字出自肺腑的佳句名篇,每每如刀刻石一般铭刻在读者的心扉,因此,研究中西爱情诗歌的理论是很多的。  长期以来,人们一般都认为,中国爱情诗比之于西方的同类题材,要相形见绌得多。这种看法是失之偏颇的。实际上,中国与西方爱情诗歌之奇葩各自摇曳着独特的风姿,散发出截然不同的芬芳,闪烁着截然不同的民族色彩。  从时间上看,中国爱情诗肇端于三百篇,产生的时间大约是公元前十一世纪到公元前六世纪。其首篇《关雎》便开门见山的道出了男子对窈窕淑女的恋慕与追求。再如《邶风·静女》中描述了一对青年男女在城隅幽会时的情景,并通过那姑娘“爱而不见”致使小伙子“搔首踟蹰”的细节描写,表现了他们爱情生活的甜蜜。《郑风·溱洧>描绘的是春暧花开之时,青年男女嬉戏游乐在河边,反映出他们爱情的和谐与欢悦。《诗三百》不仅写男子对女子的爱慕 ,而且还常有女子对男子的爱恋。试读《标有梅》  标有梅,其实七兮。求我庶土,迨其吉兮!  标有梅,其实三兮。求我庶土,迨其今兮!  标有梅,顷筐暨之。求我庶土,迨其谓之!  这首诗,以梅子的黄落比喻青春消逝,年华迟暮,表达了一个姑娘渴望及时成婚的心情。同样内容的在《周南· 卷耳》,《邶风·匏有苦叶》,《邶风·简兮》,《墉风·柏舟》,《郑风·狡童》,《郑风·子衿》这些名篇中也屡屡见到的。从情诗产生的早远,女子对男子的大胆爱恋这点看,西方古代希腊,罗马是无法与中国古代的相媲美的。值得遗憾的是,当社会进入封建社会后,由于三纲五常的伦理道德观念的束缚,“发乎情,止乎礼”的中和原则和“诗言志”传统的压制,这种女性直抒胸臆,热情奔放的倾吐和声音。就渐渐减弱了,甚至有的时期是一片沉寂,由此才带来那种中国缺乏爱情诗的读解。  西方爱情诗源于公元前八世纪的希腊。略晚于史诗,而爱情诗史也和中国的一样起源于淳厚质朴的民歌,大都是用来歌唱的,歌唱时往往伴以乐器,并分独唱体与合唱体两大类。独唱体完全是个人情感的抒发,丧失了氏族文学的集体性,被柏拉图称道为“第十位文艺女神”的萨福,是当时最富盛名的歌手,她的爱情诗多抒发恋人间的激情,悲伤,离别的痛苦,妒嫉的折磨,具有语言朴素,感情真挚,音乐性极强的特点,具有特别感人的世术魅力。以至后来伟大的卢梭在暮年时,希望自已唱着萨福美妙的情歌离开人世。然而历史传给今人的萨福的诗歌很少,且为断章残篇,真不得不令人惋惜。  爱情诗在西方臻于完善,由于量多质高给人留下难以忘印象的,当是中世纪的骑士抒情诗。在中世纪,由于骑士制度的形成,产生了骑士阶层。骑士们有着各自追随的封建领主和崇拜爱慕的贵妇人。为了讨得贵妇人的欢心,他们甘愿昌险,作战,为她服务,虽九死而不悔,万死而不辞。对于卢梭说的“我宁肯为我所爱的人的幸福,而千百次的牺牲自已的幸福。”便有骑士思想的影子。骑士与贵妇的爱恋,和婚姻是两码事的,最终目标不是与其结婚,而是一种畸形的婚外“精神恋爱”,是柏拉图哲学中爱情理论在中世纪的积淀。“为着品德而去眷恋一个人总是很美的事”给人们的心态以很大的影响。以至有的人在心中假设一个女子来为之奋斗。骑士抒情的主要代表作“普罗旺斯抒情”中的《破晓歌》,它描写骑士和贵妇人在黎明破晓之时难分难解之情,不避讳肉欲的描写,这就有对封建道德和教会禁欲主义加以否定的意义,因为在当时封建和教会双重制度下,清规戒律,约束重重,男女合一,每每缺乏爱情基础,而追求自由,具有理想的骑士精神就起了一种变相弥补的作用。十二、三世纪的骑士情诗为以后欧洲的爱情诗的发展作出了贡献。  许思园先生在其遗作《中国诗之特色》中认为,中国诗肇端于三百篇,发皇于建安,极盛于唐,自宋以后,格律题材几无所增益。中国诗生长过程约一千八百年,而西方诗导源于希腊,起于十二三世纪,在文世复兴时期和十九世纪初期,两度极盛,十九世纪末骤衰,前后只有七百余年,从这里我们似乎可以看到,伴随着中西各自诗歌成长的爱情诗的发展轨迹吧。  爱情是个诱人的主题,美轮美奂的爱情诗令人目不暇接,常叫人如醉如痴,物我两忘,我们在绚丽多姿的中西爱情诗中探幽揽胜时,常常有这样的感受,中国诗作者男性假托女性之口写诗的甚多。如:  妆罢低声问夫婿,画眉深浅入时无。《近试上张上部》(朱庆馀)  众中不敢分明语,暗掷金钱卜远人。《江南曲》(于鹄)  自家夫婿无消息,却恨桥头买卜人。《望夫词》(施肩吾)  忽见陌头杨柳色,悔教夫婿觅封侯。《闺怨》(无名氏)  何时倚虚幌,双照泪痕干?《月夜》(杜甫)  蜡烛有心还惜别,替人垂泪到天明。《赠别》(杜牧)  从理论上讲,西方的封建社会和中国的封建社会,男女地位实质上都是男尊女卑的,但是中国的程度要历害得多。如:在中国,夫妻、夫妇、子女、男男女女等词序表明男先女后的原则不可颠倒,过去出嫁的女子要在姓氏之前冠以夫姓;在汉语中,不少坏字眼,也多以“女”字作偏旁部首,如:嫉妒、妖媚、奸淫等等。可见,女子地位低下。同时文人骚客十分看重功名事业,追求“立功、立法、立言”之三不朽。妇人在男人心中不占地位,择偶得命于父母媒妁之言,嫁后须“主中馈”“奉箕帚”,生儿育女,妇女受教育的条件很差很少,“女子无才便是德”,这就必然导致女性诗人的甚少。再加上男司外,女司内的分工,妇在家则“入厨下”,夫在外则“寄寒衣”,因而妇女一般内心痛苦,这个内心痛苦复杂情感的领域,自然为男性诗人所发觉,所利用。因此,中国爱情诗诗人常假托女子之口,来唱对男子,丈夫的恩爱情深,抒写远离的相思情苦,渲泄被遗弃的怨和恨。  在西方,宗教色彩浓烈,人们对圣母圣婴的传说虔诚痴迷,加上又受中世纪骑士精神的影响。妇女地位比之于中国要高得多。比如在古代希腊传说中,人类本是一种四手四脚,圆脑袋,两张面孔的球状生物。万神之王宙斯害怕人类的力量过于强大,危及自已在奥林匹斯山上的君权统治,便举起雷电,手杖,将人类一劈为二,但分开的一半却拼命扑向另一半,想重新融合在一起,这就是人类与生俱来的爱情,因此西方男子传统称自已的妻子为“我那更好的一半”故而,女子的个性理想、智慧、才干,以至学识,常是男子景慕的对象,这样,就使得西方爱情诗多是男性对女性的仰慕。如本琼生的《给西莉亚之歌》:  只须用你的眼波向我祝酒,  我会报答你用我的眼波,  或在杯盏上留下一个吻,  我就无须寻找美酒来喝,  灵魂深处引起的干渴,  只能祈求一杯仙浆润喉,  即使天神降下甘露,  我也不肯换取你的眼波,  我新赠你的玫瑰花冠,  并不只为把你仰攀,  却只为了给它以希望,  叫它此后永不凋残。  由于你嗅过的香气,  然后把它再给我扔还。  从此它成长吐香,就非出自它,  而是出于你的,我敢断言。  希腊著名悲剧家索福克勒斯说:“世界的奇物珍宝可真不少,象人这样的唯妙的却很难找。”作为天地之灵秀,万物之灵长的人。他必定有各种理想和要求,要求“在理性和感性上都要得到充分的满足”。要求生命的完美充盈。在人的诸多要求中,“事业情结”和“爱情情结”是不可忽视的两大点。不管是中国还是西方,男子一生的主导是“事业情结”,而女子则是“爱情情结”。一般说来,在事业与爱情发生矛盾时,西方文化的个体性使西方的男子常常舍弃事业而获得爱情。他们认为爱情是事业的动力,能促使事业成功;他们认为人生的最大幸福莫过于爱,人生的最大痛苦莫过于失爱,幸福是人生的追求,爱是人生的大事,在伏尔泰看来,人生有两次真正的死亡:“一个是不再爱,一个是不再被爱,这都是难以忍受的死亡,至于冥目咽气,倒没有什么。”“爱情激荡着活跃的情绪,它可以使死亡的人复活,它可以使沙漠有人居住,它可以使爱的人幻影重现。”(大仲马《红屋骑士》)。这些思想在西方是很普遍的。  而中国,男子则往往以功名为重,爱情绝不会有与功名抗衡的分量。反之他们认为陷入情网,儿女情长是极不光彩的,会使人堕落沉沦,会使事业失败。正如俗语所说:“色字头上一把刀“所以夫婿抛妻别子,进京赶考,追求功名,镇守边防,为国为民,效命沙场,宦游南北,离家外出,商贾四方,是极普遍的,两地分居也就理所当然了;加之男子喜新厌旧,移情别恋,三妻四妾等情况。又注定中国爱情诗中以“怨情”诗特别多。  无端嫁得金龟婿,辜负香衾事早朝。《为有》(李商隐)  思君如流水,长闻呜咽声。《自君之出矣》(雍裕之)  此情可待成追忆,只是当时已惘然。《锦瑟》(李商隐)  但见泪痕湿,不知心恨谁。《怨情》(李白)  象这类离情别绪,深宫闺怨的“怨情”诗,触目皆是。  西方从中世纪以来,由于骑士风的影响,男子求荣誉骑士功勋竟不是为了自已的擢升,而是为了胜利情敌,赢得情人的青睐。拜伦写的“名声——我对你若有兴趣,并不是爱听你响亮的吹嘘;是为要看她灼灼的目光——她也懂得了:我并非配不上她!”这便是西方男子求得女子垂青时的写照,代表西方男子的群体的意识,所以西方爱情诗对女性的倾慕的表白比比皆是。其中,莎士比亚的十四行体,雪荣和勃朗宁等人的短诗便是“慕”的胜境。我们读马克思的《致燕妮》,也能充分地感受到这一点。  正如前面所分析的那样,东西恋爱观相差甚远,西方人重视恋爱,有“恋爱至上”的口号,因此,爱情诗大多写于婚媾之前,又常常是称赞容貌诉申爱慕。彼特拉克对劳拉;斯宾塞对伊丽莎白;拜伦的唐璜对海黛;卢梭对菲尔松、戈登、华伦夫人、戴莱斯;但丁对雅特丽丝;白朗宁对其夫人,简直举不胜举。而中国重视婚姻而轻视爱情,爱情诗大半写于婚后。夫妇情爱,士大夫是每每讳言或不屑言的,“随着四婆裙转”在儒家看来是一种耻事,只有潦倒无聊悲观厌世的人才肯公然寄情于声色,如桀纣与隋炀帝李后主等,但都为世所诟病。中国真正的爱情的诗的精品往往是惜别悼亡。如苏轼的《江城子》“十年生死两茫茫,不思量自难忘。”李清照的“谁怜憔悴更凋零,试灯无意思,踏雪没心情”,“物是人非事事休,欲语泪洗流”以及我们从陆游、李商隐、纳兰容著、陈曾寿等诗作中找到这方面的例证。  朱光潜先生在《中西诗在情趣上的比较》中指“西方诗人要在恋爱中实现人生,中国诗人往往只求在恋爱诗中消遣人生。中国诗人脚踏实地,爱情只是爱情;西方诗人比较能高瞻远瞩,爱情之中都有几分人生哲学和宗教情操”。的确,西方诗宗教色彩很浓,翻开西方诗歌,我们就能感受到那浓浓的气息。  在希腊神话中,美与爱的女神阿芙罗狄特主宰着人间的情爱,这情爱,犹如诱惑之酒,使人沉溺迷醉;使人痴迷疯狂,使人活力奔溢;使人心灵燃烧。正是在爱情的大胆追求上再加上一种虔诚痴迷的情感,就构成了广泛意义的宗教。试读莎士比亚的十四行诗中第一百一十六首《爱是亘古长明的灯塔》:  哦,决不,爱是亘古长明的灯塔,  它定睛望着风暴却无不为之动;  爱又是指引迷舟的一颗星,  你可量它多高,它所值却无穷。  爱不受时光的播弄,尽管红颜,  和皓齿难免不受时光的毒手;  爱并不因瞬息的改变而改变,  它巍然矗立直到末日的尽头。  这首诗它歌颂了爱情的永恒和伟大,具有浓厚的思辩色彩,阐发了一种近似教义的哲理,很耐人玩味和深思。  又如斐多菲的:  我愿意是树,如果你是树上的花;  我愿意是花,如果你是露水;  我愿意是露水,如果你是阳光;  这样我们就永远能结合在一起。  而且,姑娘,如果你是天空,  我愿意成为天上的星辰,  然而,姑娘你是地狱,  我愿意永堕地狱之中。  这首诗又表现出西方诗人对爱情的追求的执着和顽强,蕴藉着一种宗教的玄思和遐想,体现着一种哲学的理性。  中国思辨哲学不发达,人为宗教观念淡薄,因而中国人重视现实生活米盐琐屑,衣服钱财成为一般夫妻关心最多的事情,不能向较高的地方发玄想,不能向高远处有所企及。所以中国爱情诗缺乏人生的思考和宗教的情操,这也导致了中诗不如西诗那么深广远大。  在西方,女子地位较高,教育也比较完善,加之人文主义思想的启蒙。女性是男性附属品的观念很少,她们的“德”、“言”、“容”、“工”不是为男子的贤内助的标准。她们在人格上享有同男子一样的尊严。合则留不合则去的思想从古至今一直占上风。宁可离婚,而不迁就,因此,西方女子在学问和情趣上可以和男子进行朋友的默契欣合。男女相悦,婚恋合一的现象是比较普遍的。这方面动人心弦,当首称小葡萄牙人——白朗宁夫人的十四行组诗,那枯木逢春的喜悦,火焰般的激情,全展现在她那优美的十四行诗里。  而中国,由于中国固有的社会情形和伦理思想,妇女无法与男子平起平坐,无法与情人感情交流。同时文人不屑围着女子的“石榴裙”转,与他们相处的不是妇女,而是同僚和文字友,因此,男女恋爱相悦的诗,能盘看来,不及朋友交谊,赠答酬唱的作品多。许多诗人的集子中,关于友谊诗,往往占了半多。建安七子、李杜、韩孟、苏黄、纳兰成德与顾贞观等的友谊古今传为美谈。在西方人中,歌德与席勒、华斯与柯勒律治、济慈与雪莱、魏尔兰与兰波等。虽然也以友谊著称,但他们集中畅叙友朋乐趣的诗却很多。  严格说来,文学是人们生命的直接呈现形式。然而从它从产生开始就被套上了政治的桎梏,从那以来,一直有着诗乐政的传统,强调诗乐为政治服务,,加以诗言志,赋诗言志理论的形成,使得“文以载道”,使文学蜕变为“明道”;“征圣”;“宗经”的工具。因此,中国古诗中以男女之情来譬喻君臣之谊,使爱情诗常有政治的色彩。这种情况是为中国古典诗所常有,而这是西方诗所绝无的情形。开以男女之情来譬喻君臣手法先河的,是《楚辞》的《离骚》。如其间的“众嫉余之蛾眉兮,谣汤谓余以善淫。”“闺中既以邃远兮,哲王又不寤”,“何昔日之芳草兮,今直为以萧艾也”,“何离心之可同兮,吾将远逝以自流。”实际上,这是政治上的失意,被谗见疏,用男女之情之比。到了唐代,这种手段发挥得淋漓尽致。请看王昌龄的《长信怨》的“玉颜不及寒鸦色,犹带昭阳日影来。”白居易的《后宫词》的“红颜未老思先断,叙倚熏笼坐到明。”等等。甚至自已的文章合不合考官的口味,也要用新婚装束合不合公婆的眼来作比:“妆罢低声问夫婿,画眉深浅入时无。”因此,有的诗的主题到底与政治有关,还是与爱情有关,扑朔迷离,令人难以理清。正因为如此,从前注诗注词的人往往在爱情诗上贴上忠君爱国的徽帜。例如毛苌在《诗序》中毫无根椐的把诸如《关睢》《桃夭》等男女相悦的诗说成是赞美“后妃”的作品,又如张惠言把温庭筠的浓艳香软的《菩萨弯》十四章说成是“感士不遇之作”相反的是,近来有的人又走极端,把十足的忠君爱国的诗却贴上爱情的”“商标”。例如,《离骚》《远游》一类早有正确定论的作品,有人又认为是爱情诗,这可以说是乱作郑笺,穿凿解释,强牵附会之举。西方人是不会将政治主题与爱情主题相混淆的,但他们诗中宗教主题与爱情主题交叉渗透却又是常有的。  以上笔者从几个方面谈了中西爱情诗思想内容的殊异,下面在浅析一下中西不同的艺术风格。  刘勰说:“才有庸俊;气有刚柔;学有浅涤;可有雅郑;并性情所铄;陶染所凝,是以笔区云谲,文苑波诡者矣。”那么中西爱情诗风到底怎样呢?我们知道,西方文化是一个具有激进性、个体性、开放性和吸收性的文化,西方各民族的性格是以感情奔放和大胆坦露为其特征,表现在文学上是对英雄史诗的推崇,骑士精神的讴歌,昌险行为的肯定,掀起狂飚突进式的运动;在美学上崇尚阳刚之美;在哲学上不断以片面性的思辩,突破固有观念的平衡,取得新观念的跃进和突变;在艺术上崇尚震人心魄的戏剧冲突,用艺术形象对运动和角力精神加以张扬,这一切的一切,都使得西方爱情诗的手法是开放式的,笔调直率大胆,铺陈。每每带着激浪巨涛似的情感,狂飚闪电似的想象,惊世骇俗的夸张,而且还常用大自然的背景来衬托,那大海怒涛;狂飚暴风;峭壁悬崖;荒谷沙漠在中国诗中很难与爱情诗联系在一起。我们下面来读拜伦写的与海蒂的恋情描写:  他俩信步漫游,手儿相携,  在闪闪发光的卵石,贝壳上踯躅,  踏过平滑坚实的滩头沙砾,  这久经剥蚀的,荒凉的藏身之地,  由风雨形成,却俨如匠心构筑,  他们俩进来歇息,互挨着臂膊,  顺从了绛紫暝色的撩人的魅惑。  他们仰望天穹,那飘游的彩霞,  有如玫瑰色海洋,浩瀚而明艳,  他们俯眺那波光粼粼的大海,  一轮圆月正盈盈的升上海面;  听得见浪花在飞洒,轻风徐来。  得见对方黑眸里射来的热焰——  觉得四目交窥,他们的双唇,  使互相凑近,黏接,合成一吻。  提倡情感的宣泄提倡“日神”的崇高和“酒神”的狂欢,以便在情感宣泄中获得心灵的舒畅,在酒神的狂欢中去寻求审美的快感,是西方具有典型性的爱情诗,易使读者惊心动魄而有一泻无余之感。西诗的情调是刚性美,充分体现了爱情是生命的动力的观念。  中国文学越礼纵欲,主张“乐而不淫,衰在而不伤,发乎情止乎礼”,因此,虽然中国诗主张抒情言志,但却又提倡节制情感,勿过勿滥,主张在克制中和,文质彬彬在安贫乐道中走向物我两忘的境界,所以中国爱情诗所呤咏的爱情是遮掩的。“千呼万呼始出来,犹抱瑟琶半遮面。”爱情只是生命的潜流。重柔性美,情调含蓄,隐约;绵长;委婉深沉;细腻;讲究“言近而旨远,辞浅而又深,虽发语已殚,而含意未尽”;使人“望表而知里,扪毛而辨骨,睹一事于句外,反三隅于字外。”男女相遇、相识、相见、相爱、相别、相逢,,以大自然的旷野景物为陪衬的极少,而常在小桥边、溪水侧、月光下、柳树旁、孤亭客舟里;四周的清风朗日;鸟语花香;小桥流水;湖光山色;幽谷小径;云霞虹霓给人带来艺术的感觉,情绪的感染,识读的底蕴。中国人的内心很多是锁闭式的,爱情的发生更多是在室内,所发爱情诗中的“小楼”、“锈阁”、“画堂”、“回廊”、“别巷”、“深宫”、“雕栏”以及亭、榭、轩、庙、塔等屡见不鲜,这在读者的生理和心理上不会出现,紧张,急迫和不可遏制的情绪冲动,符合中国人平缓、亲切、轻松随和、舒坦、闲适、宁静、愉快等心旷神怡和审美习惯。试读下面几首诗:  惆怅梦馀山月斜,孤灯照壁背红纱,小楼高阁谢娘家。 暗想玉容何所似,一枝春雪冻梅花,满身香雾簇朝霞。《浣溪沙》(韦庄)  小山重叠金明灭,鬓欲度香胆雪。懒起画蛾眉,弄妆梳洗迟。 照花前后镜,花面交相映,新帖绣罗襦,双双金鹧鸪。《菩萨蛮》(温庭筠)  楼上黄昏杏花寒,斜月小栏杆。一双燕子,两行征雁,画角声残。 倚窗人在东风里,洒泪对春闲,也应似旧,盈秋水,读春山。《眼眉儿》(左誉)  这些诗,兼有人物,情绪和背景,而意境深远开阔,蕴藉清逸淡远,感情疏淡悠长,有“曲终人不见,江上数峰青”的韵致。  在中国,从诗歌的体裁上来看,最能表现爱情的浓丽旖旎的透骨艳语的莫过于词,它是比中国的四、五、七言古诗和律诗成就高的精口。缪钺先生在《论词》一文中曾提出了精辟的见解。“诗之所言,固人生情思之精者矣,然精之中复有更细美幽约者焉,于是不得不别创新体,词遂“肇兴。……要眇之情,凄迷之境,诗中或不能尽,而此新体反适于表达”。可见词与诗的内容是有区别的。词主要言“更细美幽约”的“人生情思——爱情”。此为“诗之所不能言也”。孔子在删诗时曾说:“诗三首,一言以蔽之,日:思无邪”。可见无邪之思,是礼教范围内的思想,是诗的主要题材。所以诗具有独特的功能,可以“经夫妇,杨孝敬,厚人伦,美教化,移风俗。”“邪思”的爱情自然不再归入诗之正宗,即使能挤进,也是微乎其微,凤毛麟角了。于是,那诗中所不能言的“要眇之情”,也就在词中找到表现它的一席之地。同时词又具有其它诗体难有的灵活和精巧,它容量虽小,却令人小中见大,神游八方,并且能常以其石破天惊之魄力,冲破卫道者的禁区,大胆表现“正人君子”难以启齿,无人可诉的爱情,将爱情赤裸裸地披露于世人面前,无丝毫的掩饰,因而在言情上,它比诗具独异的生命力,更强的艺术魅力。  请读下面两首词:  夜夜相思更漏残,伤心明月凭栏杆,想君思我绵衾寒。咫尺画堂深似海,忆来唯把旧书看,几时携手入长安?《浣溪纱》(韦庄)  春日游,杏花吹满头。陌上谁家年少,足风流?妾拟将身嫁与,一生休,纵被无情弃,不能羞。《思帝乡》(韦庄)  这些“熏香掬艳,眩目醉心”是“清艳绝伦”的词句,若写入诗中,在一般人眼中便会显得轻薄,而在词中,不仅立意新颖,情真意切,力透低背,荡入魂魄,扣人心弦,而且对封建礼教具有很强反抗意识,表现了政治束缚的减弱,文学自觉时代的深入。西方诗以表达爱情为荣,不论是婚内恋,还是婚外恋。中国诗的主要功能是“言志”,爱情题材不能登大雅之堂,婚外恋尤所讳言,只有词在这个方面最能与西方爱情诗相匹敌。
170 评论(13)

kolayanz

Western novels in comparison First, Western novels in the history of the development of Western novels are based on myths and legends of its In ancient times, science developed, out of fear of nature, the working people out of the imagination is the key to many of the world "God", describing the personification of God is a myth; who will describe the deified, that is China opened the world's Pan story, the story of San Juan Five Emperors, the West Greek mythology, Roman mythology, Norse mythology, and so on are all typical East and West, the original novel, is closely linked with the history, as historical records complement the China Pre-Qin prose in the fable, the Han dynasty in the history books, biographies, the Wei and Jin Zhi, Zhi-person novel; the West of ancient Babylon, "the United States and Ji Jia disabilities epic", in ancient Greece, "Homer's epic," "Aesop's Fables "And so on, fall into this category, fiction, novels such novels have been about the characteristics of fiction, it is still not the literary creation, directly from the private collection record, so this type of fiction plot is relatively simple, writing rough Ban Gu said, "On the Street Lane words, hearsay are made of" is a novel kind of accurate assessment of the China's Tang Dynasty, the novel is only from history and literature become a Tang Dynasty culture has developed, the author's ideas are more open, the legend came into being at this time, Li Zhaowei "Liu Yi Chuan", Po Chu's "Everlasting Regret," Wolf's "Everlasting Regret Chuan" And so on, are made in accordance with the creation of the For the fictional story of the Tang Dynasty more emphasis on imagination and literary talent, not just the history of the nature of things, but as the history of Zhi Zhi who is also the novel did not The Legend of the Song Dynasty to the novel on a gradual decline, which followed the rise of this so that after processing will become a scholar so many novel and Romance novels such as "Romance of the Three Kingdoms", "Outlaws of the Marsh", "Journey to the W" The author of such novels is the use of private creative and re-created to describe the circumstances of the touching scenes of brilliant and vivid active in shaping the character known, there are obvious story-telling style of Here by the redevelopment, it will become an independent literary creation rather than things to come together with the civil process, the representative of this type is the "Golden Lotus", it was an open and ordinary life on the road, the reality is that literature has come a long way The development of the latter's "A Dream of Red Mansions" in ancient China Geng Shiba realism to the novels of the "54" after the novelist began to learn from China's western fiction writing practices, and gradually out a new Western novels, is the "Renaissance" after the rapid development of The development of the Middle Ages novel near-stagnation in the West, 14, the end of the century "Renaissance" to overthrow the literature of the Church of control, 15, appeared in the western end of the century to promote freedom of thought and the liberation of personality in order to describe the reality of life and portray characters from all walks of life for the content of the Humanist novels, is to tie in with this type of novel anti-feudal Europe at the time of arising at the same time it also set the novel in the West to human describing the tone of the main Jiaqiu Italy's "Decameron", Spain's Cervantes "Don Quixote" is the kind of representative works of The resulting novel is a classical, elegant favor of its national language to standardize the writing of this novel in 17th century France's most well- As a note on behalf of Corneille's "Cid" neoclassical story of the rise of Western novels have been a language substantially The beginning of the 18th century to promote popular science knowledge, enlightenment of the public consciousness for the purpose of the Enlightenment novels, of which there are relatively well-known German Goethe's "Faust", the United Kingdom Defoe's "Robinson Crusoe" and the Swift "Gulliver's Travels" and so on, this type of novel to the emergence of the bourgeois revolution at the time to mold public In the 19th century, romantic fiction, realistic novels and critical realism novel turn to occupy the leading position in the field of Romantic novels, such as France Victor Hugo's "Notre Dame de Paris", Goethe's "juvenile Witt of trouble" and so on, imaginative, unusual ideas, language and imaginative, strong Efforts to reflect the reality of the novel is the essence of life, and depict typical life of a typical phenomenon in the United Kingdom Dickens, France and Germany are of such novels as a representative of the Critical realism novels exposed the efforts of the decadent feudal system and capitalist society, the dark, in-depth criticism of the reality of evil, France Balzac and Maupassant, the United Kingdom of Charlotte, Bronte, Russia's Tolstoy, Dostoevsky, the United States of a large number of writers such as Mark Twain's works belong to this Value today, the three novels in the West is still the most important of the three types of literary East-West novel on the history of the development of more or less the Second, the characteristics of the novel in the West In addition to the basic characteristics of the novel, the story of the West also have their own characteristics are as follows: 1, the traditional Chinese novel attention to the characters, language and the details of the description, in contradiction to the conflict to display the images, but the character of a single, small changes in the absence of the main Western novels are more people pay attention to the psychological description, stressed that mining figure in the subconscious mind, good at writing full, the changes in the strong sense of the main Again, "coach Lin Feng Snow Mountain Temple" in the figure is only through dialogue and action leads to contradictions and conflicts, but Anna Karenina Wogui before a series of conflicts only with his description of the psychological will be able to express their clear; for poetry in Lin In the performance of her literary talent, and Paul with his inner monologue of the ideal; Zhang Zhong-Yong has only the character, but Jane Eyre's character is the brave, strong, warm, kind-hearted, and so many of the character and rubbing and Cheng' In short, people in the area described in the West has its own unique 2, China compared with Western fiction novel plot twists and turns more and more complete Plot twists and turns, the story is complete fiction China's unique traditional The Wei and Jin Zhi Zhi people on the novel twists and turns with vivid Tang legend in the layout of many of the famous, magnificent anomaly, rigorous and clever, dramatic plot The contents of the Ming and Qing Dynasties novels scattered irregular, undulating waves, Cuoluoyouzhi, careful structure, an integral "A Dream of Red Mansions", everywhere She Fu, Hui turning point, the story of Jia's best Western plot in respect of the outstanding works, although there are many, but it can not be compared with the Chinese 3, concise and lively Chinese language novel, rich in content and rich Western Chinese folk artists absorbed the novel language, at the same time inherited the fine traditions of ancient prose, often a few words will be able to outline the incident or the Western novels in the author includes a broad range of knowledge, involve the community in many ways, so rich in content and rich people can gain knowledge in many Engels said he was in Balzac's novel about 19th century France's domestic situation than he received any reports are Western novels have different characteristics, and also in the West different aesthetic concepts to a certain extent 4, Western novels have been the rule of the feudal culture of oppression Chinese feudal culture makes the development of the novel is extremely difficult, Ming and Qing Dynasties more people to write stories for shame, so many great writers living, creating the conditions are not covered, many of the great works of authors who do not Western novels in the feudal culture makes almost the whole of the Middle Ages in the development of extremely slow, and many talented writers were forced to church services, wrote some of the religious nature of the article dry Third, Western novels in the future prospects for the development of End of the Qing Dynasty, China and the West have begun to understand the other side of the system, the advantages of the novel in the West have been constantly learn from each Of course, due to historical reasons, the Chinese side of the draw a little To this day, the novelist in the West efforts are still two researchers in the novel's artistic charm, although the different languages of each other's appreciation of the arts to a certain extent, but the United States are We have every reason to believe that in the near future, the novel art in the West will ultimately learn from each other and integrate, develop and reach new artistic References: "Foreign Literature" Shanghai Translation Publishing House Zhou Xu Liang "Contemporary Literature election," Zhang Zhong, such as Beijing University Publishing House "Chinese literature history of the development of" Shanghai Ancient Books Publishing House Liu Jie "Literary History of Europe" People's Literature Publishing House Yangzhou Han Wu Da-yuan Zhao Rui radish "Three high school language textbook used by the five dates of the" People's Education Press仅供参考,请自借鉴。希望对您有帮助。
88 评论(9)

zhaojun04

最好是对比着写的,有不同时代,中外诗歌对比最好。万分感谢。满意可追加分值。
321 评论(9)

daihuanjob

Chinese poetry and the difference between western poetry From numerous poetry comparison between can be seen in the common, but not difficult also to find differences between Has this kind of great difference is by its nature, different thinking form different Chinese poetry is good at presentation, pay attention to the lyric is a kind of creating artistic conception, the pursuit of speech already exert and meaning not completely effect, let a person have infinite imaginary To British and American poetry focuses on describing scenery in people heart stirred reaction, henceforth to express their own subjective This is different from both the thinking mode of the differences caused Chinese poetry exquisite implicative, with weak for beauty, and British and American poetry is more bold and unrestrained, with the affection vehement A very outstanding example is treated in love, the Chinese and western poems features in this can be perfectly Chinese poets description love "can eyebrows, but on the heart", always don't take that kind of love, while western poets express will shout "you are my sun, love of the fire all over me deeply " - you can afford this translation, gets not do just ignore it Chinese poetry, or more for dairies 9 lyric, forever the poet's emotion burial in poetry of the days, for example MaZhiYuan net sand, autumn thought ", he is almost useless an express feelings words, just put "withered cane", "old tree", "faint crow" simply packed together but properly apply colours to a drawing lonely, gloomy atmosphere, some phrases like on the feeling around and do not have direct connection, but the affection is a coherent, breath read down, imitate fo oneself is a poet in the painting depicts people, cause intense sympathetic However the ten kinds of civial tied, and although no subjective feelings, but more than the language will strongly expressed a lonely feeling, this is exactly the fluttered in the charm of Chinese classical In contrast, British and American modern poetry emphasize write personal in society lonely people's psychology, more broadly the poet must express meaning expression comes
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