二零一二英國(guó)文選第二講補(bǔ)充材料 Burns,Wordsworth,Romanticism

1、PAGE PAGE 10二零一二年英國(guó)文學(xué)選讀第二講補(bǔ)充材料February, 2012Part I Introduction about Robert Burns ROBERT BURNS(17591796)1786: Poems, Chiefly in the Scottish Dialect (Kilmarnock edition)1787: Begins collecting , editing , and writing songs for The Scots Musical Museum.A favorite myth of later eighteenth-century pri

2、mitivisms was that there exist natural poets who warble their native woodnotes wild, independent of art or literary tradition. These artless poets were sought among peasants and proletarians, whose caste or rural habitation, it was thought, protected them from the artificialities civilized life and

3、culture. When Robert Burns published his first volume of Poems in 1786, he was at once hailed by the literati of Edinburgh as an instance of the natural genius, a “Heaven-taught plowman” whose poems were the spontaneous overflow of his native feelings. Burns rather enjoyed playing the role of poet b

4、y instinct. But in fact he was a well-read (although largely self-educated) man whose quick intelligence and sensibility enabled him to make the most of the limited opportunities. And although he broke clear of the contemporary conventions of decayed English neoclassicism, he did so not by instinct

5、but as a deliberate craftsman who turned to two earlier traditions for his modelsthe Scottish literary tradition, which goes back to the late Middle Ages. His fatherWilliam Burnes, as he spelled his namewas a God-fearing and hardworking farmer of Ayrshire, a county in southwestern Scotland, who coul

6、d not make a go of it in a period of hard times and high rents, and died in 1784, broken in body and in spirit. Robert, with his brother Gilbert, was forced to do the toil of a man while still a boy, and began to develop the heart trouble of which he was to die when only thirty-seven. Although his f

7、ather had the Scottish esteem for education and saw to it that his sons attended school whenever they could, Burnss education in literature, theology, politics, and philosophy came mainly from his own reading. At the age of fifteen, he fell in love, and was inspired by that event to write his first

8、song. “Thus,” he said, “with me began Love and Poesy.” After he reached maturity, he cultivated assiduously both these propensities. He began a series of amorous affairs, fathering in 1785 the first of a number of illegitimate children; he also extended greatly the range and quantity of his attempts

9、 at poetry. So rapid was his development that by the time he published the Kilmarnock edition, at the age of twenty-seven, he had written all but a few of his greatest poems. The Kilmarnock volume (so named from the town in which it was published) is one of the most extraordinary first volumes by an

10、y British poet, and it had a great and immediate success. Burns was acclaimed “Caledonias Bard” and lionized by the intellectuals and gentlefolk when he visited Edinburgh soon after his book came out. In this milieu the peasant-poet demonstrated that he could more than hold his own as a brilliant co

11、nversationalists and debater. But he was also wise enough to realize that once the novelty wore off, his eminence in this society would not endure. He had a fierce pride that was quick to resent any hint of contempt or condescension toward himself as a man of low degree. His sympathies were democrat

12、ic, and he was an outspoken admirer of the republican revolutions in America and France. In religion, too, he was a radical, professing “the religion of Sentiment and Reason” in opposition to the strict Calvinism in which he had been raised, and he offended many Presbyterians by his devastating sati

13、res against the rigid tenets and the moral authoritarianism of the Scottish kirk. Furthermore, , his sexual irregularities were notorious, less because they were out of the common order at that time than because he flaunted them before the “unco guid”as his biographer DeLancey Ferguson has said, “it

14、 was not so much that he was conspicuous sinful as that he sinned conspicuously.” Most of Burns friends in high station quickly fell away , and his later visits to Edinburgh did not repeat the social success of the first.In 1788 Burns was given a commission as an excise officer, or tax inspector, an

15、d he settled down with Jean Armour, his former mistressnow his wifeat Ellisland, near Dumfries, combining his official duties with farming. This was the fourth farm on which Burns had worked; and when it, like the others, failed, he moved his family to the lively country town of Dumfries. Here he wa

16、s fairly happy, despite recurrent illness and a chronic shortage of money. He performed his official duties efficiently and was respected by his fellow townspeople and esteemed by his superiors; he was a devoted family man and father; and he accumulated a circle of intimates to whom he could repair

17、for conversations and conviviality. In 1787 James Johnson, and engraver, had enlisted Burns aid in collecting Scottish folk songs for an anthology called The Scots Musical Museum. Burns soon became the real editor for several volumes of this work, devoting all of his free time to collecting, editing

18、, restoring, and imitating traditional songs or writing verses of his own to traditional dance tunes. Almost all of his creative work, during the last twelve years of his life, went into the writing of songs for the Musical Museum and for George Thomsons Select Collection of Original Scottish Airs.

19、This was for Burns a devoted labor of love and patriotism, done anonymously, for which he refused to accept any pay, although badly in need of money, and he continued the work when he was literally on his deathbed.Burnss best poetry was written in Scots, a northern dialect of English spoken by the p

20、easants and (on other than formal occasions) by most eighteenth-century Scottish gentlefolk as well. When Burns attempted to write in Standard English, the resultexcept in an occasional lyric such as the lucid and graceful Afton Water was stilted and conventional, with the stock phrasing, sententiou

21、sness, and sentimentality of the genteel poetic tradition of his day. He is often considered a “pre-Romantic” who, anticipating Wordsworth, revived the English lyric, exploited the literary forms and legends of folk culture, and wrote in the language really spoken by the common people. This reputati

22、on is based primarily on his songs. By far the major portion of the poems that Burns published under his own name are concerned with men and manners and are written in the literary forms that had been favored by the earlier eighteenth-century poets; they include brilliant satire in a variety of mode

23、s, a number of fine verse epistles to friends and fellow poets, and one masterpiece of mock-heroic (or at least, semicomic) narrative, Tam oShanter. The claim could be supported that, next to Pope, Burns is the greatest eighteenth-century master of these literary types. Yet his writings in satire, e

24、pistle, and mock-heroic are very remote from Popes in their heartiness and verve, no less than in their dialect and intricate stanza forms. The reason for the difference is that Burns turned for his models not to Horace and the English Neoclassic tradition but to the native tradition that had been e

25、stablished in the golden age of Scottish poetry by Robert Henryson, William Dunbar, Gavin Douglas, and other Scottish Chaucerians of the fifteenth and sixteenth centuries. He knew this literature through his eighteen-century Scottish predecessors, especially Allan Ramsay and Robert Ferguson, who had

26、 collected some of the ancient poems and written new ones based on the ancient models. Burns improved greatly on these predecessors, but he derived from them much that is characteristic in his literary forms, subjects, diction, and stanzas. Burnss songs, however, are more widely known than his longe

27、r works and have in themselves been adequate to sustain his reputation as a major poet. He wrote over three hundred of them, in unequalled abundance and variety. In his songs he gives himself whole-heartedly to the emotion of the moment, evoked by all the great lyric subjects: love, drink, work, fri

28、endship, patriotism, and bawdry. His poetic character is hearty, generous, rollicking, tender, with a sympathy that encompasses humans of all type, from national heroes to tavern roarers, like all the great poets of humanity, Burns had that poetical character which Keats described: “It lives in gust

29、o, be it foul or fair, high or low, rich or poor, mean or elevatedit has as much delight in conceiving an Iago as an Imogen.” Burns is not only the national poet of Scotland but a song writer for all English-speaking people. Wherever in the world they may on New Years Eve, when, helped by drink and

30、the reminder of their bondage to time, men and women indulge their instinct of a common humanity, they join hands and sing a song of Burns.Part II. More Poems of Robert BurnsMy Hearts in the HighlandsMy hearts in the Highlands, my heart is not here,My hearts in the highland a-chasing the deer; Chasi

31、ng the wild deer, and following the roeMy hearts in the Highlands wherever I go.Farewell to the highlands, farewell to the north,The birth-place of valour, the country of worth;Wherever I wander, wherever I rove,The hills of the highlands for ever I love.Farewell to the mountains high coverd with sn

32、ow;Farewell to the straths and green valleys below;Farewell to the forests and wild hanging woods;Farewell to the torrents and loud-pouring floods.My hearts in the Highlands, my heart is not here,My hearts in the highland a-chasing the deer; Chasing the wild deer, and following the roeMy hearts in t

33、he Highlands wherever I go.Questions:Where is the Highlands? What does the “Highlands” refer to?This poem follows a rigid rhyme scheme and metrical pattern. Does this help express the strong patriotic feelings of the poet?The first stanza is repeated at the end of the poem, and this is called the re

34、frain. What is the function of the refrain?A number of natural images appear in this lyric, e.g. “highlands”, “hills”, “mountains”, “snow”, “straths”, “valleys”, “forests”, “woods”, “torrents”, “floods”, “deer”, and “roe”. Do these images make the lyric a nature poem?Scots Wha Hae1Scots, wha hae wi

35、Wallace2 bled, Scots, wham3 Bruce4 has aften led, Welcome to your gory bed Or to victorie! Nows the day, and nows the hour: See the front o battle lour,5 See approach proud Edwards power - Chains and slaverie! Wha will be a traitor knave? Wha will fill a cowards grave? Wha sae6 base as be a slave? -

36、 Let him turn, and flee! Wha for Scotlands King and Law Freedoms sword will strongly draw, Freeman stand or freeman fa,7 Let him follow me! By oppressions woes and pains, By your sons in servile chains, We will drain our dearest veins But they shall be free! Lay the proud usurpers low! Tyrants fall

37、in every foe! Libertys in every blow! Let us do or dee! 題解：The above was one of Burns poems that did not sit well with the English rulers, south of the border. Any person reading it would assume it was a call to arms, possibly rebellion. Which even though the Scottish were now under the one flag of

38、the United Kingdom, and had certain rights which made them distinct from the English, the time that this poem was written was too close to the rebellion of 1745. I will let the reader make up your own mind whether it is a poem of patriotism or something deeper. A little history may be in order here

39、to give you some understanding of the background to the poem. William Wallace was appointed Guardian of Scotland and Robert the Bruce, was a king of Scotland who lead the clans into battle with the English. Probably why they are so well remembered is that they beat the English soundly, and establish

40、ed Scotland as a power to be dealt with, at least until, like any political system, complacency and sloth set in. Edward was the king of England, with his powerful army.此詩(shī)作于1793年，發(fā)表于1794年。蘇格蘭原系獨(dú)立國(guó)家，1707年其為英國(guó)合并，引起蘇格蘭人民的激烈反對(duì)，到1745年還爆發(fā)了最后一次抗英起義。在這首詩(shī)里彭斯緬懷英烈，慷慨悲歌， 號(hào)召為自由而戰(zhàn)。詩(shī)歌的特點(diǎn)是：每行音節(jié)不多（一般七個(gè)音節(jié)，每節(jié)第四行只有五個(gè)音節(jié)

41、，作為有力的一結(jié)），用字也少，但平行句成串出現(xiàn)，不斷地問句像步步緊逼的挑戰(zhàn)，節(jié)奏緩而有力，到每小節(jié)之末則又突然高昂，到全詩(shī)最后一行達(dá)到高潮，呼喊立即行動(dòng)。Notes:Scots Wha Hae: Scots Who Have.Wallace, Sir William (12721305), Scottish patriot. He led the resistance to Edward I, whom he defeated at Stirling (1279). He was routed at Falkirk (1298) betrayed (1305) and executed in

42、London.wham:whom; aften: often.Robert I the Bruce, (12741329), king of Scotland (130629). He was crowned in defiance of Edward I, and consolidated his hold on Scotland during the weak reign of Edward II, whom he heavily defeated at Bannockburn (1314). His title to the throne and the independence of

43、Scotland were officially recognized (1328).lour: lower; impending.sae: so.fa: fall.Afton WaterFlow gently, sweet Afton, among thy green braes, Flow gently, Ill sing thee a song in thy praise; My Marys asleep by thy murmuring stream, Flow gently, sweet Afton, disturb not her dream. Thou stock-dove, w

44、hose echo resounds thro the glen, Ye wild whistling blackbirds in yon thorny den, Thou green-crested lapwing, thy screaming forbear, I charge you disturb not my slumbering fair. How lofty, sweet Afton, thy neighbouring hills, Far markd with the courses of clear winding rills; There daily I wander as

45、 noon rises high, My flocks and my Marys sweet cot in my eye. How pleasant thy banks and green valleys below, Where wild in the woodlands the primroses blow; There oft, as mild Evning sweeps over the lea, The sweet-scented birk shades my Mary and me. Thy crystal stream, Afton, how lovely it glides,

46、And winds by the cot where my Mary resides, How wanton thy waters her snowy feet lave, As gathering sweet flowrets she stems thy clear wave. Flow gently, sweet Afton, among thy green braes, Flow gently, sweet river, the theme of my lays; My Marys asleep by thy murmuring stream, Flow gently, sweet Af

47、ton, disturb not her dream. 作品鑒賞關(guān)于對(duì)關(guān)雎詩(shī)義的理解 關(guān)雎以詩(shī)經(jīng)首篇的顯要位置，歷來受人關(guān)注。但在詩(shī)經(jīng)的研究史上，人們對(duì)關(guān)雎詩(shī)義的理解卻多有分歧。毛詩(shī)序認(rèn)為，這首詩(shī)是贊美“后妃之德”的，以為女子只有忠貞賢淑、含蓄克制，才能夠配得上王侯。因此，把這首詩(shī)放在詩(shī)經(jīng)之首，以明教化。魯詩(shī)、韓詩(shī)都認(rèn)為關(guān)雎是刺詩(shī)，諷刺國(guó)君內(nèi)傾于色。也有學(xué)者認(rèn)為關(guān)雎是婚戀詩(shī)。我們認(rèn)為，對(duì)關(guān)雎應(yīng)當(dāng)從詩(shī)義和音樂兩方面去理解。就詩(shī)義而言，它是“民俗歌謠”，所寫的男女愛情是作為民俗反映出來的。相傳古人在仲春之月有會(huì)合男女的習(xí)俗。周禮地官媒氏云：“媒氏（即媒官）掌萬民之判（配合）。中春（二月）之月，令會(huì)

48、男女，于是時(shí)也，奔者不禁（不禁止私奔）；若無故而不用令者，罰之，司男女之無夫家者而會(huì)之?！标P(guān)雎所詠未必就是這段史事的記實(shí)，但這段史實(shí)卻有助于我們了解古代男女相會(huì)、互相愛慕并希望成婚的心理狀態(tài)和風(fēng)俗習(xí)尚。文學(xué)作品描寫的對(duì)象是社會(huì)生活，對(duì)社會(huì)風(fēng)俗習(xí)尚的描寫能更真實(shí)地再現(xiàn)社會(huì)生活，使社會(huì)生活融匯于社會(huì)風(fēng)習(xí)的畫面中，從而就更有真實(shí)感。關(guān)雎就是把古代男女戀情作為社會(huì)風(fēng)俗習(xí)尚描寫出來的。就樂調(diào)而言，全詩(shī)重章疊句都是為了合樂而形成的。鄭樵通志樂略正聲序論云：“凡律其辭，則謂之詩(shī)，聲其詩(shī)，則謂之歌，作詩(shī)未有不歌者也。”鄭樵特別強(qiáng)調(diào)聲律的重要性。凡古代活的有生氣的詩(shī)歌，往往都可以歌唱，并且重視聲調(diào)的和諧。關(guān)雎重

49、章疊句的運(yùn)用，說明它是可歌的，是活在人們口中的詩(shī)歌。 有人認(rèn)為雎鳩本是兇猛之鳥，關(guān)雎乃是以雎鳩之求魚以象征男子求愛的。而漢儒卻視其為貞鳥，并解釋“關(guān)關(guān)雎鳩為雌雄和鳴，以喻夫妻和諧。這種解釋影響了中國(guó)歷史兩千多年。 關(guān)于關(guān)雎的分章問題 毛詩(shī)尾題：“關(guān)雎五章，章四句。故言三章，一章章四句，二章章八句?！标懙旅鹘?jīng)典釋文認(rèn)為：“五章是鄭所分，故言以下是毛公本意?！卑凑贞懙旅鞯恼f法，關(guān)雎分五章，是鄭玄分的，毛公本來是分三章的。此后，朱熹詩(shī)集傳、陳奐詩(shī)毛氏傳疏都接受了陸德明的說法，分關(guān)雎為三章。陸德明所言毛公分三章，鄭玄分五章，不知何據(jù)。究竟最初關(guān)雎分三章還是分五章，人們已無從考證。因此，關(guān)雎分章問題就成

50、了詩(shī)經(jīng)學(xué)史上的千古懸案。 關(guān)雎這首短小的詩(shī)篇，在中國(guó)文學(xué)史上占據(jù)著特殊的位置。它是詩(shī)經(jīng)的第一篇，而詩(shī)經(jīng)是中國(guó)文學(xué)最古老的典籍。雖然從性質(zhì)上判斷，一些神話故事產(chǎn)生的年代應(yīng)該還要早些，但作為書面記載，卻是較遲的事情。所以差不多可以說，一翻開中國(guó)文學(xué)的歷史，首先遇到的就是關(guān)雎。 當(dāng)初編纂詩(shī)經(jīng)的人，在詩(shī)篇的排列上是否有某種用意，這已不得而知。但至少后人的理解，并不認(rèn)為關(guān)雎是隨便排列在首位的。 HYPERLINK /view/19183.htm t _blank 論語(yǔ)中多次提到詩(shī)（即詩(shī)經(jīng)），但作出具體評(píng)價(jià)的作品，卻只有關(guān)雎一篇，謂之“樂而不淫，哀而不傷”。在他看來，關(guān)雎是表現(xiàn)“中庸”之德的典范。而漢儒的

51、 HYPERLINK /view/666144.htm t _blank 毛詩(shī)序又說：“風(fēng)之始也，所以風(fēng)天下而正夫婦也。故用之鄉(xiāng)人焉，用之邦國(guó)焉?！边@里牽涉到中國(guó)古代的一種倫理思想：在古人看來，夫婦為人倫之始，天下一切道德的完善，都必須以夫婦之德為基礎(chǔ)。毛詩(shī)序的作者認(rèn)為，關(guān)雎在這方面具有典范意義，所以才被列為“風(fēng)之始”。它可以用來感化天下，既適用于“鄉(xiāng)人”即普通百姓，也適用于“邦國(guó)”即統(tǒng)治階層。如此說來，關(guān)雎之義大矣！暫且撇下這種理解究竟有多少道理，先從詩(shī)歌本身說起。 關(guān)雎的內(nèi)容其實(shí)很單純，是寫一個(gè)“君子”對(duì)“淑女”的追求，寫他得不到“淑女”時(shí)心里苦惱，翻來覆去睡不著覺；得到了“淑女”就很開心

52、，叫人奏起音樂來慶賀，并以此讓“淑女”快樂。作品中人物的身份十分清楚：“君子”在詩(shī)經(jīng)的時(shí)代是對(duì)貴族的泛稱，而且這位“君子”家備琴瑟鐘鼓之樂，那是要有相當(dāng)?shù)牡匚坏摹Ｒ郧俺０堰@詩(shī)解釋為“民間情歌”，恐怕不對(duì)頭，它所描繪的應(yīng)該是貴族階層的生活。另外，說它是情愛詩(shī)當(dāng)然不錯(cuò)，但恐怕也不是一般的愛情詩(shī)。這原來是一首婚禮上的歌曲，是男方家庭贊美新娘、祝頌婚姻美好的。詩(shī)經(jīng)國(guó)風(fēng)中的很多歌謠，都是既具有一般的抒情意味、娛樂功能，又兼有禮儀上的實(shí)用性，只是有些詩(shī)原來派什么用處后人不清楚了，就僅當(dāng)作普通的歌曲來看待。把關(guān)雎當(dāng)作婚禮上的歌來看，從“竅窕淑女，君子好逑”，唱到“琴瑟友之”、“鐘鼓樂之”，也是喜氣洋洋的，很

53、合適的， 當(dāng)然這首詩(shī)本身，還是以男子追求女子的情歌的形態(tài)出現(xiàn)的。之所以如此，大抵與在一般婚姻關(guān)系中男方是主動(dòng)的一方有關(guān)。就是在現(xiàn)代，一個(gè)姑娘看上個(gè)小伙，也總要等他先開口，古人更是如此。娶個(gè)新娘回來，夸她是個(gè)美麗又賢淑的好姑娘，是君子的好配偶，說自己曾經(jīng)想她想得害了相思病，必定很討新娘的歡喜。然后在一片琴瑟鐘鼓之樂中，彼此的感情相互靠近，美滿的婚姻就從這里開了頭。即使單從詩(shī)的情緒結(jié)構(gòu)來說，從見關(guān)雎而思淑女，到結(jié)成琴瑟之好，中間一番周折也是必要的：得來不易的東西，才特別可貴，特別讓人高興。 這首詩(shī)可以被當(dāng)作表現(xiàn)夫婦之德的典范，主要是由于有這些特點(diǎn)：首先，它所寫的愛情，一開始就有明確的婚姻目的，最終

54、又歸結(jié)于婚姻的美滿，不是青年男女之問短暫的邂逅、一時(shí)的激情。這種明確指向婚姻、表示負(fù)責(zé)任的愛情，更為社會(huì)所贊同。其次，它所寫的男女雙方，乃是“君子”和“淑女”，表明這是一種與美德相聯(lián)系的結(jié)合?！熬印笔羌嬗械匚缓偷滦须p重意義的，而“窈窕淑女”，也是兼說體貌之美和德行之善。這里“君子”與“淑女”的結(jié)合，代表了一種婚姻理想。再次，是詩(shī)歌所寫戀愛行為的節(jié)制性。細(xì)讀可以注意到，這詩(shī)雖是寫男方對(duì)女方的追求，但絲毫沒有涉及雙方的直接接觸?！笆缗惫倘粵]有什么動(dòng)作表現(xiàn)出來，“君子”的相思，也只是獨(dú)自在那里“輾轉(zhuǎn)反側(cè)”，什么攀墻折柳之類的事情，好像完全不曾想到，愛得很守規(guī)矩。這樣一種戀愛，既有真實(shí)的頗為深厚的

55、感情（這對(duì)情詩(shī)而言是很重要的），又表露得平和而有分寸，對(duì)于讀者所產(chǎn)生的感動(dòng)，也不致過于激烈。以上種種特點(diǎn)，恐怕確實(shí)同此詩(shī)原來是貴族婚禮上的歌曲有關(guān)，那種場(chǎng)合，要求有一種與主人的身份地位相稱的有節(jié)制的歡樂氣氛。而孔子從中看到了一種具有廣泛意義的中和之美，借以提倡他所尊奉的自我克制、重視道德修養(yǎng)的人生態(tài)度，毛詩(shī)序則把它推許為可以“風(fēng)天下而正夫婦”的道德教材。這兩者視角有些不同，但在根本上仍有一致之處。 古之儒者重視夫婦之德，有其很深的道理。在第一層意義上說，家庭是社會(huì)組織的基本單元，在古代，這一基本單元的和諧穩(wěn)定對(duì)于整個(gè)社會(huì)秩序的和諧穩(wěn)定，意義至為重大。在第二層意義上，所謂“夫婦之德”，實(shí)際兼指有

56、關(guān)男女問題的一切方面。“飲食男女，人之大欲存焉”（禮記禮運(yùn)），孔夫子也知道這是人類生存的基本要求。飲食之欲比較簡(jiǎn)單（當(dāng)然首先要有飯吃），而男女之欲引起的情緒活動(dòng)要復(fù)雜、活躍、強(qiáng)烈得多，它對(duì)生活規(guī)范、社會(huì)秩序的潛在危險(xiǎn)也大得多，老夫子也曾感嘆：“吾未見好德如好色者?！保ㄕ撜Z(yǔ)）所以一切克制、一切修養(yǎng)，都首先要從男女之欲開始。這當(dāng)然是必要的，但克制到什么程度為合適，卻是復(fù)雜的問題，這里牽涉到社會(huì)物質(zhì)生產(chǎn)水平、政治結(jié)構(gòu)、文化傳統(tǒng)等多種因素的綜合，也牽涉到時(shí)代條件的變化。當(dāng)一個(gè)社會(huì)試圖對(duì)個(gè)人權(quán)利采取徹底否定態(tài)度時(shí)，在這方面首先會(huì)出現(xiàn)嚴(yán)厲禁制。相反，當(dāng)一個(gè)社會(huì)處于變動(dòng)時(shí)期、舊有道德規(guī)范遭到破壞時(shí)，也首先在

57、這方面出現(xiàn)恣肆放流的情形?；氐疥P(guān)雎，它所歌頌的，是一種感情克制、行為謹(jǐn)慎、以婚姻和諧為目標(biāo)的愛情，所以儒者覺得這是很好的典范，是“正夫婦”并由此引導(dǎo)廣泛的德行的教材。 由于關(guān)雎既承認(rèn)男女之愛是自然而正常的感情，又要求對(duì)這種感情加以克制，使其符合于社會(huì)的美德，后世之人往往各取所需的一端，加以引申發(fā)揮，而反抗封建禮教的非人性壓迫的人們，也常打著關(guān)雎的權(quán)威旗幟，來伸張滿足個(gè)人情感的權(quán)利。譬如 HYPERLINK /view/39853.htm t _blank 牡丹亭中的 HYPERLINK /view/823211.htm t _blank 杜麗娘，在被鎖深閨、為懷春之情而痛苦時(shí)，就從關(guān)雎中為自己

58、的人生夢(mèng)想找出了理由當(dāng)然，實(shí)際上她已經(jīng)走得很遠(yuǎn)了。 詞典解釋 1. 詩(shī)周南篇名。為全書首篇，也是十五國(guó)風(fēng)的第一篇。歷來對(duì)這首詩(shī)有不同理解。 詩(shī)周南關(guān)雎序：“關(guān)雎，后妃之德也。風(fēng)之始也，所以風(fēng)天下而正夫婦也?！焙鬂h書皇后紀(jì)序：“故 康王 晚期，關(guān)雎作諷。”現(xiàn)代研究者或認(rèn)為是寫上層社會(huì)男女戀愛的作品。后世用此篇名作典故，含義也常不同。 (1)借指賢淑的后妃或后妃的美德。后漢書皇后紀(jì)上光烈陰皇后：“既無關(guān)雎之德，而有 呂 霍 之風(fēng)?！?唐 張說 祈國(guó)公碑：“內(nèi)被螽斯之德，外偃關(guān)雎之化?！?(2)借指夫婦。 元 無名氏抱妝盒第四折：“多則是天生分福，又遇著姻緣對(duì)付，成就了麟趾關(guān)雎。”(3)借指淑女。玉

59、嬌梨第十九回：“久聞老先生令愛賢淑，有關(guān)雎之美，故托晚生敬執(zhí)斧柯，欲求老先生曲賜 朱 陳 之好?！?4)借指正統(tǒng)的詩(shī)歌。 清 陳廷焯 白雨齋詞話卷五：“率爾操觚，揚(yáng)揚(yáng)得意，不自知可恥。此關(guān)雎所以不作，此 鄭 聲所以盈天下也?！?2. 鳥名。魚鷹。 宋王銍（字性之，自號(hào)汝陰老民） 默記卷中：“ 李公弼 見所謂魚鷹者飛翔水際，問小吏，曰：此關(guān)雎也。”一說，非鳥名。 唐 顏師古 匡謬正俗關(guān)雎：“按，關(guān)關(guān)，和聲；雎鳩，王雎。詩(shī)序總撮句內(nèi)二字以為篇名耳，不得即呼雎鳩為關(guān)雎也?！?作品賞析關(guān)雎是風(fēng)之始也，也是詩(shī)經(jīng)第一篇。古人把它冠于三百篇之首，說明對(duì)它評(píng)價(jià)很高。史記外戚世家曾經(jīng)記述說：“易基乾坤，詩(shī)始關(guān)雎，書美厘降夫婦之際，人道之大倫也?！庇譂h書匡衡傳記載匡衡疏云：“匹配之際，生民之始，萬福之原。婚姻之禮正，然后品物遂而天命全?？鬃诱撛?shī)，一般都是以關(guān)雎為始。此綱紀(jì)之首，王教之端也?！彼麄兊闹埸c(diǎn)是迂腐的，但對(duì)詩(shī)的本義的概括卻基本正確。問題在于它所表現(xiàn)的是什么樣的婚姻。這關(guān)系到我們對(duì)風(fēng)的理解。朱熹詩(shī)集傳“序”說：“凡詩(shī)之所謂風(fēng)者，多出于里巷歌謠之作，所謂男女相與詠歌，各言其情者也?！庇粥嶉酝ㄖ緲仿哉曅蛘撜f：“詩(shī)在于聲，不在于