摘要
作为诗歌写作手法的兴，是诗歌史上的活化石，它保留了原始思维的属性和原始文化形态的遗存。兴，是一块跳板，是创作主体从日常实务活动与实务心理向审美活动和艺术心理过渡的跳板，是从单纯地以声传情向以语音曲调传情同语义传情结合融会的跳板。民歌用兴多，文人诗歌用兴少，原因在于作者创作方式的不同和创作心理的差别。原始时代歌谣和后代民歌中，兴句与后文只有节奏、韵律上的关系，文人诗歌中兴句以自然物象为后文造成一种情调、气氛上的前奏。
Abstract Inspiring, as a type of prosody, is the fossil in the history of Chinese poetry, maintaining the property of primitive thoughts and the heritage of primitive culture. Inspiring functions as a bridge, which helps the creator transform daily activities and earthly mentalities into aesthetic and psychological activities, and which also helps bring about the combination of expressing feelings through sound and tune by means of conveying feelings through meaning rather than solely through sound. Inspiring is more widely used in folk songs than poems created by literati because of the differences in the artists outlook about nature and their motivation of creation. In ballads of the primitive ages and folk songs of the later years, inspiring lines are connected with the following lines by rhythm and rhyme. Yet inspiring lines composed by literati are filled with natural images that serve as a prelude of emotional appeal and literary atmosphere. In a word, inspiring theory is rich in content of artistic psychology.
出处
《华中师范大学学报（人文社会科学版）》
CSSCI
1998年第2期98-105,131,共9页
Journal of Central China Normal University:Humanities and Social Sciences
基金
国家社科基金
