赋中有比 耐人寻味

• 作 者: 陶文鹏
• 机 构: 中国社会科学院《文学遗产》编辑部 编审
• 出 处: 古典文学知识
• 发表日期: 1997年04期
• 关键词: 喻象 中国古典诗歌 兴象 创构 额联 杜工部蜀中离席 李商隐诗歌集解 天意怜幽草 池口风雨留三日 春锄

中国古典诗歌中的意象,有赋象、喻象、兴象、拟象、隐象、典象等种类。其中,赋象就是诗人运用赋的手法,即铺展开来,直接加以描绘而创构的意象。喻象,就是诗人运用比喻手法所营造,借以喻事喻情喻理之意象。但诗人们常常把赋的手法同别的手法配合使用于一首诗中,形成诸象交相映射的意境。而当诗人在创构意象时兼用“赋”和“比”的手法,就产生了“赋中有比”的双重意象。这种赋中有比的意象,亦实亦虚,既生动鲜明、饱含感情,又兼有比兴寄托,寄兴在有意无意之间,不见痕迹,因此其蕴含的情意格外丰厚

The images in Chinese classical poetry are of the forms of figurative, metaphorical, progressive, simulacra, hidden and classic. Among them, the portrait is the poet’s use of fu tact, that spread out, directly to create a description of the image. Metaphor, the poet is the use of metaphor to create, to metaphorical metaphorical image. However, the poets often used the techniques of the fu and other techniques together in a poem to form the artistic conception of the images of the males. And when the poet uses both “Fu” and “Bi” in creating images, it produces a double image of “Fu in a ratio”. This kind of imagery is more vivid and vivid, vivid and vivid, full of feelings, but also more than Hing sustenance, send Xing in the intentional or unintentional, no trace, so the implication of the exceptionally rich