论《古诗十九首》中的孤独感

论《古诗十九首》中的孤独感

论《古诗十九首》中的孤独感 篇1

关键词：《古诗十九首》；孤独感；汉末文人

On “19 Ancient Poems” in the sense of loneliness

Specialty: Chinese Language and Literature Author: Wang Jinguo

Instructor: Zou Wenrong

Abstract :“19 Ancient Poems” Late Han Dynasty scholar Wu Yan Shi masterpiece，it truly demonstrated the lower deck of the Late Han Dynasty scholar of state and spiritual survival course，the Writing in the world have suffered a real crisis after the inner emotional world and the sense of life and Life eternal value of the deep thinking，who expressed a deep sense of loneliness。such sentiments from the community at large in the Late Han foreign land Youzai this special population of the special Mentality，this sense of loneliness in “19 Ancient Poems” in any class and any works in a different extent and form of performance。

Key words :“19 Ancient Poems”;loneliness;Late Han Dynasty scholar

《古诗十九首》是一组不同凡响的诗歌作品，自其诞生之日起，就得到极高的评价。刘勰《文心雕龙·明诗》称其“直而不野，婉转附物，怊怅切情，实五言之冠冕也”，确非虚言。由于诸多原因，《古诗十九首》的作者虽有各种推测，诸如枚乘、傅毅或曹植、王粲所作，但均无据可考，皆属妄言虚谈。目前学术界公论以为，《古诗十九首》出自汉代文人之手，但非一人一时一地之作。尽管这些作品并非一人一时一地之作，但它们却存在着一个很大的共性，即都拥有一个颇为一致的主题：对时光易逝的感伤和空间辽远的恐惧，这是寂寞中的无奈，亦是孤独中的伤痛。它以其摄人心魄的感伤情调引起了读者的广泛共鸣。从诗歌的内容上来讲，它触及了人生最基本的情感：离别的情感、失意的情感、忧虑人生无常的情感，而这三类情感无不同时表达了人的内心的一种真实的情绪——孤独。从诗歌创作的形式上看，诗歌在意象表达方面也体现了这一种孤独感。

1、诗歌情感表达中的孤独感

离别之情多相思，相思无尽是孤独。从题材上看，《古诗十九首》中绝大多数为游子思妇诗。它们通过思妇之词、游子之歌衍生出思妇伤怀、游子思归、士子失意、友情淡薄、及时行乐、感叹人生短暂和忧虑人生无常等各种情感，其看似独立，实则是同一个问题的不同侧面。思妇、游子和失意文人之间存在着内在的必然的联系，所以各种情感之间也就相互影响、相互推动，也就更加剧了其情感中的孤独和悲凉意蕴。

1.1离别情感见孤独

所谓相思定当远隔，形单影只、茕茕孑立必然，孤独亦必然。思妇伤怀是我国古典诗歌中一个相当传统的主题，而抚慰和排遣内心的孤独可谓是中国古代思妇诗的主要基调，《古诗十九首》也不例外。其中最具代表性的思妇诗，在十九首中约占了近一半的比例，如：

“行行重行行，与君生别离。相去万余里，各在天一涯。道路阻且长，会面安可知？„„”（《行行重行行》）徘徊复徘徊，向往复向往，送君千里却终有一别，为什么要生别离，诗中没写明，但可以肯定的是“君”不得不走，于是便产生了一种相思两处、各在一涯的痛苦。诗中流露的是女主人公面对辽远空间的畏惧和恐慌；而“思君令人老，岁月忽已晚”则是对人生时光易逝的感伤，这份孤独犹如在大漠中独行的旅人时时被死亡提醒般令人恐惧。“青青河畔草，郁郁园中柳。„„荡子行不归，空床难独守。”（《青青河畔草》）荡子不归，辜负了岁月年华，更勾起了思妇对美好时光的回忆和眷恋。“攀条折其荣，将以遗所思。馨香盈怀袖，路远莫致之。”（《庭中有奇树》）庭中奇树开了花而情人却远在他乡，手持朵朵鲜花之时思念之情更不能已。青春独卧，情思难寄，忧伤的女子似乎只有在孤独的伤痛中把红颜老去，这里以乐景衬哀情，孤独悲凉之感跃然纸上。“千里远结婚，悠悠隔山陂。„„思君令人老，轩车何来迟。伤彼蕙兰花，含英扬光辉。过时而不采，将随秋草萎。”（《冉冉孤竹生》）主人公把自己比作“寂寞开无主”的幽兰，无奈地怨嗟着“过时而不采，将随秋草萎”，她耿耿于“悠悠隔山坡”，然而，道阻且长，会面已不可知。“凛凛岁云暮，蝼蛄夕鸣悲。„„锦衾遗洛浦，同袍与我违。独宿累长夜，梦想见容辉。”（《凛凛岁云暮》）美人千古哀怨，夫君已有外遇，致使佳人寒夜独宿。情深如梦，因思成梦，故而才有“梦想见容辉”的欢快而又伤感的梦境出现。梦里欢乐，夫妻携手同车归，让人流连忘返。可悲的是这毕竟只是梦，梦醒后的失望，更让女子恍恍惚惚。本只望“身无彩凤双飞翼，心有灵犀一点通”，但对于主人公来讲，只是她单相思的白日梦而已，夫君依旧沉湎新欢，不知何之，“徙倚怀感伤，垂涕沾双扉”，春梦了无痕，佳人重感伤！倚门落泪，唯梦聊以自慰。“客从远方来，遗我一书札。上言长相思，下言久离别。”（《孟冬寒气至》）月满月缺，岁岁年年，时光就这样匆匆而过，韶华红颜就这样随时光蹉跎而凋零。回忆之中，忽得心上人一封家书，挑灯百读之余，更是天天放置于袍袖之间，一有时间就拿出来抚摩、观看，相思无助之余只有睹物自怜。“相去万余里，故人心尚尔。文彩双鸳鸯，裁为合欢被。”（《客从远方来》）夫君迢迢万里以外，托人捎来一端锦绮，让美丽女子惊喜交集。物轻心意重，女子心中燃起无限的欣喜与盼望，千针万线，把所有的痴情和等待，皆缝入合欢被中。

“河汉清且浅，相去复几许？盈盈一水间，脉脉不得语。”（《迢迢牵牛星》）这里是作者对十九首中思妇诗的总结，它明写天上的牵牛和织女两星，实刻人间悲剧，状写夫妇离别之苦，却透露出诗人的主观孤独。

1.2失意情感见孤独

与思妇相关联的是游子，正是有了游子才多了闺中的思妇。这一种关联也很自然地连带着游子们的孤独，但游子们的孤独似乎比思妇的孤独有更深层的意蕴。因为思妇多是单纯的闺中思夫的孤独，而游子却多了一层在人世间、在异地的人群中那种无助少援的孤独。他们对人间冷暖的感受更为深切。如：

西北有高楼，上与浮云齐。交疏结绮窗，阿阁三重阶。上有弦歌声，音响一何悲！谁能为此曲，无乃杞梁妻。清商随风发，中曲正徘徊。一弹再三叹，慷慨有余哀。不惜歌者苦，但伤知音稀。愿为双鸿鹄，奋翅起高飞。（《西北有高楼》）

作者被楼上飘下来的歌声所吸引，寂寥之中，缓步而来，伫立于一座高楼之下，谛听美人鼓琴唱曲，凄切一幕，心有所感：“不惜歌者苦，但伤知音稀。”他把歌者设想成一个失意之人，其实那正是士人自己的精神化身；自命为歌者的知音，实际是慨叹“知音稀”的孤独伤痛，和对方同病相怜。诗人满腹诗书，却得不到“知音”的赏识，诗中那弦歌声中的慷慨悲哀，那“知音稀”的感伤，与其说是对弹奏者心灵感伤的想象，还不如说抒发了作者自身真实的孤单。

“明月皎夜光，促织鸣东壁。玉衡指孟冬，众星何历历。白露沾野草，时节忽复易。秋蝉鸣树间，玄鸟逝安适。昔我同门友，高举振六翮。不念携手好，弃我如遗迹。南箕北有斗，牵牛不负轭。良无盘石固，虚名复何益？”（《明月皎夜光》）

深沉夜半，诗人幽幽独步，正是心情郁闷的表现。怅然之间，诗人愤愤：“昔我同门友，高举振六翮”，昔日的同门之友，高飞翱翔，尽成为显宦达官，自己却被他们弃置身后，不屑一顾。世态炎凉，友情价值几何！悲愤之余，仰首望去，那几个“箕星”、“斗星”和“牵牛”的星座，徒有其名，既不能颠扬、斟酌，也不能拉车，为此，诗人顿生无名怨气：“南箕北有斗，牵牛不负扼！”心中苦闷，只能这样荒谬地在指斥中加以宣泄。

细读《古诗十九首》我们不难在脑海中还原出一个主人公，他应当是身着单衣，背负书笈，头发凌乱，于秋冬寒风中乱舞的士人形象。乱世之中飘泊天涯，远离故土，其孤独之心境是可以想见的，倘有一种既有的秩序或体系将其纳入，或者说他飘泊的目的是非常明确的，这或可减轻孤独的分量，然而旧有的价值体系已不能容纳他们早已松动的心灵。相反，身处乱世，颠沛流离又失职失位反而加重了这一层孤独。实际上，他们在做着两种意义上的飘泊：现实意义和精神层次上的，因而同时也遭受了两种层面上的放逐：现实生活的失职失位和灵魂的无所附着。孤独已是一种心灵状态。“清商随风发，中曲正徘徊，一弹再三叹，慷慨有余哀”，孤独的人都有一种倾诉的欲望，要将全部的苦楚心境倾诉在对方身上，期望倾听者能理解你，并给予某种心灵的反应。然而结果是令人丧气的：“不惜歌者苦，但伤知音稀”，这更是一种旷世的孤独。“昔我同门友，高举振六翮，不念携手好，弃我如遗迹。”人情淡薄，知音难觅。被整个思想体系和社会机制放逐的他们，可以安顿灵魂的也就是爱情与故园了。他们内心所包含的无限凄楚与彷徨的巨大精神力量，也只有在温柔乡里才能获取真正的宣泄与抚慰，然而距离的阻隔造就了刻骨的哀伤：“盈盈一水间，脉脉不得语。”（《迢迢牵牛星》）追求爱情其实就是向往家园，而向往家园又表现为对爱人的思恋，只是这最后的温情的抚慰，也只是遥望而终不能实现，欲归无道。这里的家园有比现实层面更深的寓意，“他们已经走向了不归之路，因为他们失去了心灵的故乡”[1]。由此，我们可以体验到他们孤独凄楚的心境。

亡国之音哀以思，每逢国家丧乱，诗人们生活困顿，失职失位，又有早已融入骨中的忧患意识，往往对国家之不幸，社会之黑暗做出深沉的哀叹与批判，而汉末文人五言诗多从一己之体会出发，也更显悲凉而深沉，这似乎可解释为他们更大程度上具有的孤独之感，这种孤独感来自于个体生命价值的重新确认，也来自于虽摆脱了一种秩序的约束又陷入了更大虚空中的无措。

1.3忧虑人生无常之感见孤独

在广阔的时间和空间面前，人无法掌控自己，因为他是那样的渺小和短暂，等待他们的只能是生命的消失和消失以前的孤独。这种孤独在后来的阮籍的《咏怀诗》三十三“一日复一夕”中也有所体现，他感慨于：“但恐须臾间，魂气随风飘”，人即使能逃脱社会的苦难，但最终也难逃生命的终结。生逢乱世的穷愁潦倒的文人，命运多舛，生存艰难，朝不虑夕，生存于短促狭小的现实世界，他们无法超越现实世界中的时空束缚。

“人生天地间，忽如远行客”（《青青陵上柏》）文人们无法摆脱时间恶魔的纠缠。“浩浩阴阳移，年命如朝露”（《驱车上东门》）他们叹惋着生命的短暂，但却无法回避时间对生命的侵蚀。诗人在《今日良宴会》中亦迷茫：“人生寄一世，奄忽若飙尘”。面对现实，这些孱弱的文人无力改变现状，悲世忧生的痛苦煎熬着他们脆弱的心，死亡阴影时时威胁着他们，让他们倍感生命的孤独。他们试图以对美服、情爱等等的追求来淡化、分散、消解生命的忧伤意识，然而这种偏执不但没有淡化他们的孤独忧生情结，反而加剧了他们内心的恐惧，无助的诗人们不停地发出悲凉的呻吟：“生年不满百，常怀千岁忧”（《生年不满百》）。诗人们或感慨“青青”的“陵上柏”和“磊磊”的“涧中石”，或感慨于永久的“金石”，与自然中的永恒相对比，人生是多么短暂。在诗人们的眼中，时间成为剥夺生命与人生的杀手，“四顾何茫茫，东风摇百草。所遇无故物，焉得不速老。”（《回车驾言迈》）节序物候的变迁常常激起文人强烈的悲叹：“回风动地起，秋草萋以绿。四时更变化，岁暮一何速！”（《东城高且长》）在纷繁物象中，频频出现“出郭门直视，但见丘与坟。古墓犁为田，松柏摧为薪。白杨多悲风，萧萧愁杀人。”（《去者日已疏》）这是时光之流带给生命的死亡气息。诗人似独自伫立于时间的旷野，他感到是那么孤独无助，那么悲凉无望。这正是陈子昂登幽州台时的感触，“前不见古人，后不见来者，念天地之悠悠，独怆然而泣下。”这种难以抑制的孤独感不由得勾起了诗人的乡愁。因为故乡是他的根，那里有养育他的土地、山川，有生育他、帮助他的亲人、朋友，也许故乡的这一切能给他的孤独以些微的慰藉。然而，“欲归道无因”，这些微的慰藉也难拥有，他所剩的唯有孤独。“潜寐黄泉下，千载永不寤。”（《驱车上东门》）忧生叹逝的孤独成为短暂生命中的永恒的咏叹。

此外，《古诗十九首》的作者即使在美酒佳宴、吹曲舞裳的欢乐时刻也不能忘却这份孤独。如:

今日良宴会，欢乐难具陈，弹筝奋逸响，新声妙如神。令德唱高言，识曲听其真。齐心同所愿，含意俱未陈。人生寄一世，奄忽若飙尘。何不策高足，先据要路津？无为守穷贱，坎轲长苦辛。（《今日良宴会》）

虽说是“良宴会”，有清歌妙曲，可谓欢乐至极。但是诗人要求，“识曲听‘其真’”。要真能体味到：人生苦短，应及时干进。不然的话，连这本无数量的短暂人生也同时没有了质量，只能落得个“无为守穷贱”、“坎轲长苦辛”的境地。《古诗笺》注“坎轲，不遇也”[2]。显然，“其真”隐藏的是一种对人生必然的孤独和可能的孤独的恐惧。说必然的孤独，是人生短暂，他会在无限的时间中孤独，这谁也无法逃脱，故谓之必然；说可能的孤独，是在短暂的人生中若不能显达，则有穷困潦倒、不遇时、不遇明主、不遇知音的孤独。有时，这种孤独感会把诗人逼近绝路。“白杨何萧萧，松柏夹广路。下有陈死人，杳杳即长暮。”（《驱车上东门》）作者的眼中弥望着一派死亡的气象，那是松柏夹道、白杨萧萧的墓地。地下的死人是寂寞孤独的，世上的活人更加的寂寞孤独。“浩浩阴阳移，年命如朝露”这孤独是谁也逃不掉的，服食成仙只不过是一种幻想。于是，诗人只好退一步想，“不如饮美酒，被服纨与素”，准备暂时从世间短暂而虚幻的富贵荣华之中寻求生命的寄托。

《古诗十九首》的内容是丰富复杂的，它以“游子之歌”、“思妇之词”为题材，从不同角度反映了汉末中下层文人在动荡不安的年代里坎坷不平的生活经历，抒发了他们离别相思的感伤、“知音”难遇的悲哀和人生苦短的惆怅等世俗情怀，表达出了多种复杂情感中的内在本质——孤独。

2、诗歌表达意象中的孤独感

《古诗十九首》作为五言诗发展史上的重要一环，在选取意象表达主题方面采取了入诗意象皆悲情的方式。我们常说，意象是触动诗人主观情感的客观物象。物质世界的“象”一旦根据作家的“意”被反映到一定的语言组合之中并用书面文字固定下来以后，便成为一种心灵化的意象。《古诗十九首》所表现的，无外乎三种人类最基本的情感：离别、失意、忧郁人生无常。在意象选取方面，像蟋蟀、凉风、秋草这样的带有明显的季节变化特征和悲凉情致的物象固然能表达这三种人生之悲；像芳草、东风、蕙兰、郁柳等本应象征美好与郁郁生机之物也被诗人注入了伤感气质，成为其表现孤独悲凉情感的物质载体。

人生的别离有很多种，朋友之别，在悲伤中常有共同奋进的鼓励；而男女之别让人感受的则是完完全全的痛苦，使人意夺神骇、心折骨惊。汉代的举荐取士制度，使宦游之风盛行。作为游子，客居他乡已使他们饱受分离之苦，而功名的难成又使他们更加想念家中温柔可爱的妻子。作为思妇，她们不只要忍受独守空床的寂寞，更有游子不归、中道被弃、恩爱难久长的忧虑。所以，对《古诗十九首》的作者而言，即使是最普通的生活之物、自然之景，也往往由心及物而蕴含伤感，表达了深深的孤独之感。

2.1从自然景物见别离时的孤独之感

芙蓉、芳草：用美洁芬芳的植物象征爱情，始自《离骚》。“涉江采芙蓉，兰泽多芳草。采之欲遗谁，所思在远道。”（《涉江采芙蓉》）诗歌一方面描写美丽的景色，一方面表达游子的思乡怀恋之苦，然而，美丽的哀愁，会更加让人难以忍受。我们心中的忧伤，会在晴朗天空和良辰美景的映衬下，更加难以排遣。《古诗十九首》在选取芙蓉、芳草意象时，沿用了传统手法，而当诗人想采摘这些东西送给所爱的人时，却“所思在远道”，自己空执爱情的信物，但表达与传递竟是如此之艰难，最终只能“忧伤以终老”。[3]于是，芙蓉与芳草也因无法传递诗人的情感，而带上了伤感气质，用饱含希望的物象与景致从侧面表达了主人公的孤独情绪。

明月：《古诗十九首》涉及月意象的有三首，月亮本身有圆缺的变化，人世间亦有相聚和别离。人常常由于物象而意识到自己，对于物象的意识就是人的自我意识，所以月的圆缺变化与文人内心之间就存在了一种很微妙的情感关联，这种关联便通过诗句表现出来。《古诗十九首》用月意象表达主题时，月的圆缺常伴着节气的改变而出现：“明月皎夜光，促织鸣东壁”，月圆月缺中有秋的悲凉；“孟冬寒气至，北风何惨栗„„三五明月满，四五蟾兔缺”，月圆月缺中有冬的凄清，读者在万物衰落的寒冷中感受着月圆人不圆的遗憾，其抽象的情绪在可感的环境中被具体化，孤独凄清，使读者感同身受。

2.2从生活器物见别离时的孤独之感

合欢被：“文彩双鸳鸯，裁为合欢被”，“合欢”，又名“合昏”、“夜合”、“马樱花”，是一种植物，羽状复叶。一个大叶由多个小叶组合而成，这些小叶一到夜晚就合起来，因而得名。汉时凡是一种两面合起来的物件都称为合欢。“被”本身，即是寝卧之用，将带有鸳鸯花纹的绮裁为合欢被，更有鱼水之欢之意，象征夫妇同居的愿望。远隔孤独的色彩往往是黯淡的，但“合欢被”意象的引入，使整个诗境“著色敷腴”[4]起来，展现出作者因“故人心尚而”而产生的瞬间喜悦，同时，也展现出由这瞬间的喜悦所加重的孤独之苦，在“日日思君不见君”的期盼中，也只能凭借着鸳鸯合欢被聊以自慰，更突出了那种孤独的苦痛。

衣带：“相去日已远，衣带日已缓。”衣带意象是《古诗十九首》的首创，在此之前诗歌中的衣带，只是作为客观物象出现，并没有融入诗人的主观色彩。“人情于所爱，莫不欲终身相守，然谁有不别？”两地相思的游子和思妇，愁肠百转，痛苦于剪不断的离愁当中，神形日益消损。《古诗十九首》用它来表现离别给人带来的心灵与身体上的双重痛苦，离别越久，思念越深，思念越深，自然就“为伊憔悴”，这种意象的运用既形象又生动，令人思之信服。南朝乐府《读曲歌》“欲知相忆时，但看裙带缓几许”，鲍照《拟古》“宿昔改衣带，旦暮并容色”，柳永《蝶恋花》“衣带渐宽终不悔，为伊消得人憔悴”等许多后世作家对衣带意象的种种生发，均由《古诗十九首》而出。衣带意象所表达的痛苦，从侧面体现了情感主体的孤独身境和孤独心境。

2.3从历史典故的悲凉意蕴中见孤独之感

杞梁妻：人物意象在《古诗十九首》中运用得并不多，但每一个都能恰如其分地表达其主题。杞梁妻的故事，最完整的见于刘向的《列女传》。杞梁妻，齐国杞梁的妻子，她“上无父，中则无夫，下则无子，将何已立吾节？亦死而已”的行为，是男权社会中女性的行为典范。《列女传》载，杞梁战死，没有儿子和亲近的家属，他的妻子孤苦无依，枕着丈夫的尸首在城下痛哭，悲哀动人，十天之后，连城墙也被她哭倒塌了。故事虽有夸张之处，但杞梁妻的遭遇却极人世之至悲。作者以这一典范人物为意象，既象征着自己理想中的“知音”，又暗含着具备如此品格的知音极难寻觅之意。在我们的思维定式中，所谓典范，一定是可以作为榜样而起示范作用的人，而这类人又一定是群体中的少部分。在**的汉末社会环境下，真正意向高远，能守节不移的人少之又少，能与之相遇相知更成奢望，反过来说，能得到一个“知音”的赏识也同样的困难，所以，作者在无尽的企盼中不免失望，在失望中唯有孤独哀怨而已。

鸿鹄：鸿鹄是善飞的大鸟，刘邦《鸿鹄歌》：“鸿鹄高飞，一举千里。”鸟类以其可以自由遨翔于天空的本性让生活在地上的人类有距离之感，而一飞冲天的鸿鹄，更让人觉得难以追求，难以企及。虽然作者说“愿为双鸿鹄，奋翅起高飞”的豪言壮语，但如何“奋翅”？又飞到哪里？作者却回答不了，于是也就增添了“不惜歌者苦，但伤知音稀”的失意，“空中送情，知向是谁？”[3]看似满载希冀实际却是飘渺空灵无人理解的孤独。

综上所述，《古诗十九首》无论是在其作品的内容上还是创作形式上都体现了深沉的孤独感。这种孤独感的主体是丰富的，他可以是思妇和游子，同时也可以是失意的文人。它的产生以及在作品中的体现是与汉末**的大的时代背景分不开的。东汉王朝建立之初，为了加强统治，巩固政权，进一步发展了西汉中期以来的养士、举荐、征辟制度。这一制度确实鼓舞了读书人的“进取心”，但是，随着整个东汉王朝的日益衰败，这种取士制度的本身的流弊日趋严重。对于众多的士人而言，官僚机构的容纳能力实在太有限了。这就必然形成了一种得机幸进者少，失意向隅者多的局面。再加上汉恒帝、灵帝时，宦官外戚勾结擅权，官僚集团垄断仕途，上层士流结党标榜，社会买官公行的黑暗现象，使多数中下层士子游宦无门，人生失意，漂泊蹉跎。“游子”、“荡子”们以各自的文辞表述、抒发着同类的境遇和感伤，这些失意文人通过文字来表达和排遣内心的感伤、失落、恐惧和迷茫，这些情感中折射着内化的孤独。

因而说，《古诗十九首》所渲泄的主要情绪乃是一种沉重的孤独感，从这个意义上说它是汉末文人悲吟的一曲凄凉感伤的孤独悲歌。

参考文献：

[1]冷成金。中国文学的历史与审美[M]。北京:中国人民大学出版社，1999。

[2]王士禛闻人倓。古诗笺[M]。上海:上海古籍出版社，1980。

[3]马茂元。古诗十九首初探[M]。西安:陕西人民出版社，1981。

[4]隋树森。古诗十九首集释[M]。北京:中华书局，1955。

[5]陆时雍。古诗镜总论[A]。马茂元。古诗十九首初探[M]。西安:陕西人民出版社，1981。

[6]姜书阁。汉魏六朝诗三百首[M]。长沙:岳麓书社，1992。

[7]王锋。古诗十九首的抒情艺术[D]。西北大学学报，1999。

[8]袁行霈。中国文学史[M]。北京:高等教育出版社，1999。

[9]朱自清马茂元。说古诗十九首[M]。上海:上海古籍出版社，1999。

[10]张一玮。古诗十九首中的时间经验和孤独意识[J]。唐山师范学院学报，2001。

论《古诗十九首》中的孤独感 篇2

Nathaniel Hawthorne (1804-1864) is a very renowned American writer of fiction.Herman Melville even hails him as the“American Shakespeare”.He is an important fi gure in American literature.

The Scarlet Letter is one of the most famous masterpieces of Nathaniel Hawthorne in America in the19th century.It tells about a triangular love affair set in the Seventeenth-century Boston.An aging English scholar sends his beautiful young wife, Hester Prynne by name, to make their new home in New England.But for some reasons, the husband has not joined her in the colony.While waiting for her husband, Hester falls in love with Arthur Dimmesdale, her puritan minister, and has given birth to a child, Pearl.Hester’s former husband—Chillingworth knows the adultery after his arrival in Boston, and torments Dimmesdale to death.Many years later, Hester dies and she is buried with Dimmesdale.Their love continues after life, and the scarlet letter changes its meaning in people’s heart.

It can not be denied that the theme of loneliness, together with the themes of original sin, moral vision, religious beliefs and feminist ideas in The Scarlet Letter also deserves our attention and efforts.But it seems that very few scholars have ever done exhaustive research into the theme of loneliness in The Scarlet Letter, much less identify and distinguish the four distinctive connotations of loneliness represented by the four main characters.

1 A Brief Introduction of Loneliness

One of the fi rst recorded uses of the word“lonely”was in William Shakespeare’s Coriolanus which states“Though I go alone, like a lonely dragon…” (Shakespeare, 1608) It is said that loneliness is the most terrible poverty.And loneliness is the main psychological feeling of the four protagonists in The Scarlet Letter.So in the fi rst place, analysis of loneliness is obviously necessary.

1.1 Defi nitions of Loneliness

Nowadays, many people have the feeling of loneliness.This feeling has nothing to do with the crowd of people around them.Even if they have many close friends and family members, they may still feel lonely.It is something internal—something inside one’s soul.Then what exactly is loneliness?

Different people have different understanding of the term.Moustakas once defi ned the term as“Loneliness is a condition of human life, an experience of being human which enables the individual to sustain, extend, and deepen his humanity.Loneliness is within life itself” (1961:32) .In the view of Margalit, “Loneliness is an undesirable feeling associated with negative effects” (1994:12) .Weiss also stated that“Feelings of loneliness may result from an unfulfi lled desire to have friends, an understanding of the gap between an actual and desired social status, and a lack of affective bonding” (1973:79) .

In summary, loneliness is one of the scourges of humanity.It seems to affect everyone regardless of age or ethnicity.Whether you are a PhD or clergy, rich or poor, you are equally vulnerable.It is a feeling that intimacy, understanding, friendship, and acceptance are missing from one’s life.It is a feeling of isolation or separation from others, a feeling of being all alone.

1.2 Causes of Loneliness

There are many reasons that cause people’s loneliness, for instance, a subjective emotional experience that may be unrelated to actual social isolation—aloneness, an aversive psychological condition, and some form of social relationship defi cit.

The loneliness related to emotional isolation results from the absence of a person with whom one is emotionally connected.The loneliness experienced is a psychological state characterized by feelings of loss, distress, separation, and isolation.“Loneliness resulting from social isolation is related to a person’s perceived isolation from those around him or her.The emotional condition of loneliness in this regard is influenced by a deficit in the quantity of relationships, and/or the lack of relatedness to the social environment” (Lynch, 1997:249)

Many people experience loneliness for the first time when they are left alone as an infant.It is also a very common, though normally temporary, consequence of divorce or the breakup or loss of any important long-term relationship.In these cases, it may stem both from the loss of a specifi c person and from the withdrawal from social circles caused by the event or the associated sadness.

2 The Representation of Loneliness of the Four Characters2

In The Scarlet Letter, the four main characters Hester Prynne, Roger Chillingworth, Arthur Dimmesdale and Pearl all have their own kinds of loneliness, and their different frames of mind lead to the different types of life.This part plays the most important role in the thesis, through the analysis of the four characters, the main topic of the thesis is exposed gradually.The four protagonists’distinguishable loneliness is demonstrated through three aspects, that is, their inner thoughts, their words and behaviors.

2.1 Loneliness in Hester Prynne’s Alienation

In The Scarlet Letter, the loneliness that Hester Prynne suffered is the epitome of loneliness in human relationship.She seems to be in a lonely island, trying to approach other happy islands, but in vain.In reality, she is isolated from the outside world, including her parents, her husband, her lover and even her daughter.Though brave and tough, she feels lonely deep inside.Since being isolated from the community, she never speaks too much and seldom gets in touch with others.She lives a lonely life until she dies.

2.1.1 Hester Prynne’s Inner Struggle

From the beginning of this novel, Hester is presented to readers with an image of being alone.She stood at the gate of the prison and bore in her arms an infant daughter with the letter A in her bosom.Here A represented Alone and Alienation rather than Adultery.Then Hester stood on the scaffold aloft and far away from the crowd and the physical distance here manifested an internal alienation.

Hester suffered a lot because of her inner struggle.She was very lonely in her unhappy marriage.On the one hand, she accepted this marriage for the sake of her parents.On the other hand, this is not the marriage that she aspired.Hester was a beautiful young lady with an extremely passionate nature.She married a handicapped scientist Chillingworth who regarded himself as“a man of thought, the bookworm of great librariesa man already in decay and has the best years to feed the hunger dream of knowledge” (Hawthorne, 1996:29) .In contrast, Hester was in her green years, and had“a fi gure of perfect eleganceon a large scale.She had dark and abundant hair…and a face which, besides being beautiful from regularity of feature and richness of complexion, had the impressiveness belonging to a marked brow and deep black eyes” (Hawthorne, 1996:56) .She had an impulsive and passionate nature, whereas the husband devoted himself wholly to seeking the so-called truth in books.The unhappy marriage indicated that there was no mutual understanding and communication between Hester and her husband.She got no love but loneliness in this undesirable marriage.

2.1.2 Hester Prynne’s Short-spoken Languages

Hester was taciturn when she settled alone in Boston, a place far from her home.The scenes of this new town were foreign to her.The connection between Hester and her parents in England seemed to have been cut off.She often memorized that“her father’s face, with its bald brow and reverend white beard…her mother’s too, with the look of heedful and anxious love” (Hawthorne, 1996:27) .She was a lonely young lady sent ahead by her husband to the new world.

When waiting for her husband, she came across her pastor Dimmesdale and fell in love with him.After the hearsay which informed Hester that her husband had been lost at sea, they had an affair.This secret can no longer be hidden with Hester’s pregnancy.They incarcerated Hester and she must wear the scarlet letter“A”on her bosom.Though punished severely, Hester never identifi es her child’s father.She never made much explanation and complaints but kept silent.Hester was a lonely mother who gave birth to her baby in prison.She is a woman in need of consolation from her lover-Dimmesdale but she can never ask for it.Facing people’s abuses, she chose to tolerate all of these silently, instead of arguing on the basis of reason.

2.1.3 Hester Prynne’s Isolated Behaviors

Soon after she was released from prison, Hester resided in a small cottage which was abandoned by an earlier settler.The cottage was located on the outskirts of the town, and there were no other habitations around.In the novel, the detailed descriptions about the little and lonesome dwelling suggested that Hester was isolated from the community.Whenever Hester appeared, there was wide space separating her from other citizens.“As was usually the case wherever Hester stood, a small vacant area a sort of magichad formed itself about her, into which though the people were elbowing one another at a little distance, one ventured, or felt disposed to intrude” (Hawthorne, 1996:198) .The fact that Hester stood in a circle and others kept apart was a typical symbol of Hester’s solitude.In all her contact with society, there was nothing that made her feel as if she belonged to it.Every gesture, every word, and even the silence of people whom Hester contacted, implied, and often expressed, that she was banished and as much alone as if she inhabited another sphere.In people’s eyes, Hester seems to communicate with the world by otherorgans and senses, which was different from the rest of habitants.

Hester, a single mother, was in need of consolation and accompany from her lover to help her relieved from the state of loneliness and give her courage when facing the miserable life.On the contrary, Dimmesdale refuses to acknowledge Pearl as his daughter.He kept his dreadful secret under his care for seven years for fear that he would lose his love and could not be forgiven as“sometimes, once in many days, or perchance in many months, she felt an eye a human eye upon the ignominious brand that seemed to give a momentary relief, as if half of her agony were shared” (Hawthorne, 1996:32) .This delusion indicated Hester’s loneliness when she was longing for staying together again with her lover day by day.

2.2 Loneliness in Chillingworth’s Revenge

Roger Chillingworth, the man who intensifies the formation of the scarlet A is Hester’s husband.A man whose soul is portrayed by his ugly appearance and deformed body wants to take revenge to Dimmesdale.He is a lonely old man who is not loved by his wife and cannot feel the warmth of the family.Disguised himself as a doctor, Chillingworth got close to Dimmesdale and tortured him.A year after the young minister’s death, this poor old revenge-seeker died lonely.

2.2.1 Chillingworth’s Evil Thoughts

Roger Chillingworth was the husband of Hester an old and lonely scholar in England, when he came to the town from being kidnapped by Indians, he found Hester on the scaffold, with her infant daughter being punished for adultery.It was wrong for him to get married with Hester.His deformed outlook was in sharp contrast with Hester’s youth and beauty.

In view of the difference between Chillingworth and Hester, their union can be regarded as unnatural relationships of age and youth, deformity and youth, and a studious mind and a passionate nature.When Hester came to Boston alone, she fell in love with Arthur Dimmesdale, which resulted in adultery.In this point of view, Chillingworth was a lonely husband abandoned by his young and passionate wife.From that moment on his evilness was awakened.

The wronged husband took a false name Roger Chillingworth and asked his wife to keep the secret about his identity.“Roger”is phonetically close to“rogue”meaning scoundrel and rascal.“Chill”means“the unpleasant feeling of coldness”and“chilling”means“frightening”.“Worth”is the approximate homophone of“worse” (田俊武, 1999:102) .Therefore, the name“Roger Chillingworth”may refer to a frightening devil.As his name suggested, Chillingworth was a man deficient in human warmth.The loss of identity and the lack of human affection symbolized his isolation from the townspeople.

2.2.2 Chillingworth’s Obscure Languages

When Roger fi rst saw Hester on the scaffold, his heartlusted for revenge for the man who had done this to her.Later when Roger went to prison to cure baby Pearl, he made Hester promise to keep the secret of their marriage.Thus Roger now had Hester in his evil clutch and could now deal with Hester’s lover on his own terms.From then on, Roger Chillingworth was a lonely old revenge-seeker.

Chillingworth is a scholar and uses his knowledge to disguise himself as a doctor, intent on tormenting Dimmesdale.His inquisitions are clever, and he poses questions that infl ict anxiety and worry in the clergyman.When Roger asked Dimmesdale, “You would tell me, then, that I know all?” (Hawthorne, 1996:125) .The reverend’s character is stirred and his irritability in response to the question suggests that he is hiding something that creates discomfort when asked about the matter.

One day while Dimmesdale and Roger Chillingworth are talking about medicinal weeds that Chillingworth found on an old grave that had no tombstone or marking whatsoever, Chillingworth says to Dimmesdale, “…They grew out of his heart, and typify, it may be, some hideous secret that was buried with him, and which he had done better to confess during his lifetime” (Hawthorne, 1996:129) .It seems that Chillingworth can tell that Dimmesdale is hiding something that could be the cause of his health depleting.Chillingworth then asked“why not reveal them here?” (Hawthorne, 1996:129) .Chillingworth simply knows that there is something else, something that Dimmesdale has not yet come forth to tell him.

In these sinful languages, it is obviousthat, Chillingworth—a lonely revenge-seeker, is approaching his aim step by step.

2.2.3 Chillingworth’s Wicked Concealment

In order to fi nd out the truth, Chillingworth incorporates himself into society in the role of a doctor and takes his revenge step by step.He is doomed to be“Alone”in the left years of his life.

Several years later, there is a chance.The respectable clergyman Dimmesdale appears to be wasting away and suffers from a mysterious heart trouble for so long which seemed to be caused by his psychological distress Chillingworth attaches himself to the ailing minister and eventually moves in with him so that he can provide his patient with round-the-clock care.As there are some strange things on Dimmesdale, Chillingworth suspects that there may be a connection between the minister’s torments and Hester s secret, and he begins to test Dimmesdale to see what he can learn.

One afternoon, while the minister sleeps, Chillingworth discovers a mark on the man’s chest, which convinces him that his suspicions are correct.

But with what a wild look for wonder, joy, and horror!Withwhat a ghastly rapture, as it were, too mighty to be expressed only by the eye and features, and therefore bursting forth through the whole ugliness of his figure, and making itself even riotously manifest by the extravagant gestures with which he threw up his arms towards the ceiling, and stamped his foot upon the floor! (Hawthorne, 1996:155)

From the enormous glee that he shows, it is obvious that he has found what he considers to be proof of the reverend’s guilt perhaps the reverend bears some form of“A”on his own bosom.

Once Chillingworth discovers the true identity of his wife’s lover, he spends most of the rest of his life trying to get revenge on Dimmesdale, prying away, piece by piece, at Dimmesdale’s guilt-trodden soul.Chillingworth is a major factor in the minister’s illness and death.By pretending to be Dimmesdale’s doctor and friend, Chillingworth is able to ask Dimmesdale many questions that make Dimmesdale spiritually and physically ill.

As a revenge-seeker, as lorn creature that he was, Roger Chillingworth was doomed to be lonely in his whole life.Frustrated in his revenge, Chillingworth died a year later.

2.3 Loneliness in Dimmesdale’s Psycho-punishment

Arthur Dimmesdale, the man who marks an A in his own chest but dare not acknowledge Hester and Pearl as his wife and daughter in the daylight is also suffering a lot.He keeps his dreadful secret and suffers from mysterious heart trouble.He cannot companion his lover and acknowledge his daughter, the only thing he can do is beg for God’s forgiveness alone.He cuts himself off from community and withers spiritually as well as physically.After confessing publicly on the scaffold, he died peacefully.

2.3.1 Dimmesdale’s Disquiet

The most complex character in the novel is the good minister Arthur Dimmesdale in which“dim”means“not bright”and“dale”means“valley”, thus the name“Dimmesdale”hints that the minister’s inner mind is like a deep and hidden valley, inaccessible to the community (田俊武, 1999:101) .The minister’s name again implied his estrangement from his congregation.

Dimmesdale was a hypocritical minister isolating himself from the community and his lover.He fell in love with Hester, and became the adulterer, but he did not admit it when Hester had been questioned.Dimmesdale was guilty of two sins.One was the commission of adultery with Hester, and the other was his cowardly and hypocritical failure to confess his sin.Unlike Hester who openly exposed her sin, Dimmesdale lived with a buried sin of his own, which was the source of his endless agony.In private, Arthur Dimmesdale tried to avoid a truly intimaterelationship with his fl ock so that the community could not enter his world.He seemed to be at a loss in the pathway of human existence, and could be only at ease in some seclusion of his own.He walked alone, often in shadowy bypaths.

2.3.2 Dimmesdale’s Sentimental Words

The good minister just doesn’t have the courage to admit his wrongs.He seems to be a coward during these seven years of living with guilt.

Although Dimmesdale’s weaknesses are more predominantly shown throughout the novel as something that took away his inner strengths, what actually added to his more subtle strengths making them seem larger than life.His inability to see the truth becomes an important trait that shows what he deals with his emotions.He is a solitary one who suffered from the soul-punishment and seemed to be abandoned by God.Dimmesdale is always looking for answers that cannot be answered, like“What can a ruined soul, like mine, effect towards the redemption of other souls?—or a polluted soul, towards their purification?” (Hawthorne, 1996:174) .His focus on purifying his body becomes the main focus of his mind searching for something that cannot be conceived.

Throughout the story, Dimmesdale desperately tries to confess, envying Hester, for her courage as he says“Happy are you Hester, that wear the scarlet letter openly upon your bosom!” (Hawthorne, 1996:188) .He also said to himself, “Be true!Be true!Be true!Show freely to the world, if not your worst, yet some trait whereby the worst may be inferred” (Hawthorne, 1996:242) .

Finally, Dimmesdale reveals his truths to the town after he has preached a finest sermon and after the town is holding him so very high on a pedestal.Dimmesdale says to the town, “…ye, that have loved me!ye that have deemed me holy!behold me here, the one sinner of the world!At last!at last!I stand upon the spot where, seven years since, I should have stood;here, with this woman…” (Hawthorne, 1996:237) .Now that Dimmesdale confesses his secret, standing on scaffold with his lover and daughter, he was not alone any more.He can free his soul.

2.3.3 Dimmesdale’s Beg for Salvation

To be a pious puritan, Dimmesdale begged for salvation.He was a lonely beggar praying for God’s grace.The irony he portrayed and the hypocrisy that he lived was such a grand sin in itself.He lived to face his sin every single day, because he was a minister and would have to answer to the townsfolk after he had admitted and face God every day.His character has perhaps the central struggle in this novel, for he has the struggle within, and the struggle portrayed outwardly to the town and Hester.He suffered under body disease and was gnawed and tortured by some black trouble of the soul.He thus typified the constantintrospection wherewith he tortured, but could not purify, himself.

As is known to all, Adam and Eve, who were expelled from the Garden of Eden for eating fruits from the tree of knowledge, were forced to toil on earth.The experience of Hester and Dimmesdale reminds readers of the story of Adam and Eve because, in both cases, sin results in expulsion and suffering.In the case of Dimmesdale, he committed the sin of adultery and consequently he suffered a lot to gain moral regeneration and the graceful pardon from God, but in vain.His family members became unpardonable sinners because of his hidden sin.At the end of the novel, he heroically threw off the hypocrisy, pride, and the fears that had made his life an ongoing deception and mounted the steps of the scaffold in broad daylight.With his last breath Dimmesdale was able to bring a certain peace to his own soul and dropped the unbearable burden in mind.In the light of his religious beliefs, Dimmesdale gained moral salvation and he could go to heaven to enjoy God’s grace.However, the loss of life is the greatest punishment for a sinner and Dimmesdale is not at all forgiven by God.

2.4 Loneliness in Pearl’s Growth

As the living embodiment of the scarlet letter, Hester’s beloved daughter and elf-child—Pearl is growing up in loneliness.The child is always asking for paternal recognition and social admission unconsciously.The great black forest becomes the playmate for the lonely infant and she would be gentler in wilderness, therefore, she is a child of nature.

2.4.1 Pearl’s Lonely Childhood

Pearl is the daughter of Hester and Dimmesdale.Hester gives her baby this name that“purchased with all she had, her mother’s only treasure” (Hawthorne, 1996:44-45) .Actually pearl is a kind of precious jewelry and the name indicates that little Pearl is an extraordinary child and the striking difference leads to her isolation from her peers.

To Pearl, “A”also means alone and alienation.She is“a born outcast of the infantile world.An imp of evil, emblem and product of sin, she had no right among christened infants” (Hawthorne, 1996:105) .Because of her mother’s shameful sin, no one want to company her and play with her, she is accepted only by nature and animals, and ostracized by the other Puritan children.She is absolutely alone and alienated.Nothing was more remarkable than the instinct, as it seemed, with which the child comprehended her loneliness and the destiny that had drawn an inviolable circle round about her.She wants the attention from the society.

In The Scarlet Letter, Pearl is referred to as“one of those naughty elfs or fairies or...a little bird of scarlet plumage” (Hawthorne, 1996:97) .The comparison of Pearl to an elf or fairies adds a sense of alienation and mystery to her personality.

2.4.2 Pearl’s Desire for Recognition

An elf-child as Pearl is, she had no father’s love in her growing path.She lived with her mother.In the world, she just had mother’s love.For his publicity, Dimmesdale can’t admit Pearl as his daughter.He abandoned her forever.Several years past, Pearl does not know who her father is and Hester will answer none of her questions about her past.Because of her nonexistent history she naturally becomes a very curious child.She desires to know what Hester will not tell her.

During the meeting near the brook when Hester and Dimmesdale decide to move to Europe, Hester tries to convince Pearl to kiss her father, she responds, “Will he go back with us, hand in hand, we three together, into the town?” (Hawthorne, 1996:187) .and Hester responds that he will not in the near future.Dimmesdale remains steadfast with his belief that he must not reveal his secret to the people.Because Pearl continuously demands public recognition, Dimmesdale is fearful towards her.Therefore, it is understood that Pearl does not accept him as a father or loved one until he acknowledges her on Election Day.

On the Election Day, while Dimmesdale gave his sermon, Pearl said, “Mother...was that the same minister that kissed me by the brook?” (Hawthorne, 1996:276) , and Hester responded, “We must not always talk in the market-place of what happens to us in the forest“.The confession fi nally gives Dimmesdale a sense of peace.Pearl is transformed at the end of the novel when Dimmesdale stands with her on the scaffold and makes his confession.It is obvious that the child has longed for his love and acceptance in the public.When he asks her for a kiss this time, she willingly gives it.“Pearl kissed his lips.A spell was broken” (Hawthorne, 1996:251) .Her sense of human identity is established in her acceptance of Dimmesdale’s paternity.As a result, she cries with real human emotion for the fi rst time, foreshadowing that her past is put away and she will be able to live a normal life in the future.

3 Conclusion

In order to make analysis of what is loneliness and how loneliness is represented in The Scarlet Letter, this thesis had talked about the meaning, causes, and demonstration of the word“loneliness”as well as the four characters’psychological feelings, usage of language and daily actions which contributed to reveal their different types of loneliness.Besides, the writer’s own personality and family atmosphere along with the social and cultural backdrops are also the main topics discussed in the thesis.By reading this thesis, one can have a better understanding of how Hawthorne used his writing skills to present the four protagonists’loneliness, how the writer expressed loneliness among human being, society and God, and the possible reasons that Hawthorne tends to create lonely fi gures in The Scarlet Letter.

As far as Hawthorne’s achievements in psychological description had been attached, more theses on the psychological study of his novels will be of much signifi cance

参考文献

[1] Hawthorne, Nathaniel. The Scarlet Letter [M]. Beijing: The Commercial press, 1996.

[2] Lynch, James J. The Broken Heart: The Medical Consequences of Loneliness [M]. New York: Basic Books, 1977: 249.

[3] Margalit, Malka. Loneliness among Children with Special Needs [C]. New York: Springer-Verlag, 1994: 12.

[4] Moustakas, Clark E. Loneliness [M]. New Jersey: Prentice-Hall Inc., 1961: 32.

[5] Shakespeare, William. Coriolanus [DB/OL]. [2011-3-20]. http:// www. shakespeare-literature. com/Coriolanus/17.html

[6] Weiss, Robert S. Loneliness: The Experience of Emotional and Social Isolation [M]. Cambridge: MIT Press, 1973: 79.

论《古诗十九首》中的孤独感 篇3

摘要：《古诗十九首》中的思妇诗蕴涵了浓厚的闺怨孤独意识。这种闺怨孤独意识主要彰显为：女性对男性依附关系的破坏造成了稳定生活的解体。产生这种意识的原因，在于夫妻社会角色定位的不平等即女性的社会从属地位。因此，只有切断女性对男性的依附关系，改变女性的社会从属地位，实现女性的自我独立，才能最终消除这种闺怨孤独。

关键词：《古诗十九首》闺怨孤独依附男尊女卑男外女内从属具有“五言之冠冕”[1]之称的《古诗十九首》，以其低沉的音调抒发着内心强烈的感受。细品《十九首》，我们不时被一股孤独和苦闷的气息所熏染。独守空床者孤独，浪迹天涯者孤独，官场上孤独，欢歌宴饮中亦孤独，这无尽的孤独常常裹得人透不过气来。而《十九首》中的思妇诗里也处处充斥着思妇的孤独伤痛。思妇在闺中思夫的憔悴孤独着实惹人怜爱。那么，这种闺怨孤独是如何彰显出来的？产生这种闺怨孤独意识的原因又是什么？本文将就这两个问题做一些细微的探讨。

一

东汉是一个极端歧视妇女的社会。在三纲五常封建伦理道德的重压下，妇女的社会地位极其低下，再加“七诫”“七出”的层层压制，妇女更是苦不堪言。这种种加诸在妇女身上的枷锁，使妇女失去了自由，失去了生活的主观能动性，她们不得不生活在“以夫为天，以子为地”的狭小圈子里。视野的狭小造成了精神生活的空虚，丈夫由于种种原因舍她而去，她们能做的只有在闺中苦苦地等候丈夫归来。那么，“等待——思念——回忆——等待”就成了她们生活的全部。

《十九首》中的思妇总是在欲寻夫不能，欲断绝不敢，由思生怨，由怨生悲而自我排遣宽解的两难情绪的圈子里徘徊。空间间隔的辽远，青春年华的逝去，催生了她们孤独的情绪。孤独的表征是“主体与对象相疏离所导致的一种铭心刻骨的精神空落感”[2]。孤独的要素之一是“依附”，而依附关系的破坏导致稳定生活的解体，这就产生了孤独。思妇诗里的思妇，她们与游子相分离，这种分离导致了双方“依附”关系的断裂，促使稳定生活解体，造成思妇思夫的精神空落——孤独感便油然而生。

“黯然消魂者，惟别而已矣”[3]离别乃人生一大痛苦。但对于离别，游子和思妇却有着不同的体验。于男性，当离别成为实现“四方之志”这一最高价值目标的前提时，他们往往宁愿选择客路的风霜和凄苦。家庭的温馨终难抗拒功名的诱惑。而思妇的痛苦却不同，她们通常被浓重的悲苦所笼罩，那种“愁思当告谁”[4]的五内摧残，那种“惧君不识察”[5]的忧恐惕惧，那种“垂涕沾双扉”[6]的魂牵梦绕，是何等哀惋欲绝，凄恻动人！别离给别离者带来的内心体验如何，要看时间的长短。倘若归期可计，那这种短暂的别离不会造成夫妻稳定生活的解体，思妇思夫自然是隽永甜蜜。但《十九首》的思妇却并非如此，“行行重行行，与君生别离。相去万余里，各在天一涯。道路阻且长，会面安可知！”（《行行重行行》）“生别离”是思妇所不情愿的，更何况相距遥远，会面无期。这种长久的分离破坏了思妇与游子之间的依附关系，稳定的家庭生活随之解体。禁锢在封建礼教中的思妇，深居闺房的她们时时体味这种铭心刻骨的孤独。这种孤独是长久的，面对青春年华的流逝，思妇焦虑不已而又无计可施。她们既不能像游子那样出游，也不能狠心地相思与君绝，只能像曹丕《燕歌行》中描写的那样，“贱妾茕茕守空房，忧来思君不敢忘。”执着于礼教而又无法实现家庭团聚的思妇们，只剩下无尽的等待。孤独的人在日常生活中可以获取的仅是对孤独的“想象的消解”。《凛凛岁云暮》中的思妇在梦境里体验了重逢的快乐，“良人唯古欢，枉驾惠前绥”，丈夫不忘旧情，驾车来接妻子。而《孟冬寒气至》《客从远方来》二首，思妇小心珍藏丈夫托人从远方带来的丝织品和书信，以此作为丈夫感情的确证，而这只不过是想象中虚幻的确证。想象的泡沫消退后，思妇的日常生活又重归孤独。思妇对游子的依附关系在短暂希望的刺激下更为紧密，对团聚的渴望更加迫切，因而孤独随之加深。

中国封建社会的妇女，她们没有机会去参与各种社会工作或进行社交活动。婚后的她们，丈夫成为唯一的情感交流者和寄托者。丈夫远行了，依附关系遭到了破坏，这唯一的也不再拥有，那种难挨的孤寂是怎样一种滋味是可想而知的。《青青河畔草》的女主人公对自己的寂寞孤独直言不讳。生活的苦闷，环境的冷清，境遇的落寞，遭际的痛苦，使她毫无顾忌地喊出了“荡子行不归，空床难独守”的心声。由此可见，别离给思妇带来的精神空落感是多么铭心刻骨，这种闺怨孤独意识又是多么强烈！那么，产生这种闺怨孤独的原因又是什么呢？

二

在中国封建社会，“夫妇有别”一直是最神圣的伦理原则。这种“别”作为伦理规范，不是强调两性在生理和心理方面的差异，而是社会角色的区别。中国封建社会本质是男权社会，两性社会角色必须服从并有助于巩固男权统治。在这方面，作为封建社会精神支柱的儒家提供了一套较为完备的理论。孔子曾言：“唯女子与小人难养也；近之则不逊，远之则怨”[7]。明确要求男性必须与女性保持适宜的距离，虽然他还没来得及具体阐释这种距离的“度”，但他提出问题的角度却是基于不平等的两性社会角色定位上的，扬男抑女的态度昭然在目。以后孟子出于尊礼的需要，提出“男女授受不亲”[8]，这其实正是孔子思想的延伸和发展，进一步肯定了两性社会角色定位的差异。《易传》作为儒家尊奉的经典，则从宇宙本体论的高度标举“阴阳”之说，为两性不平等的社会角色定位奠定了哲学基础。《易传》认为：“一阴一阳之谓道”，从“阴阳”之道出发，逻辑地推演出两性的社会定位。这种定位不仅存在着互补关系，更重要的还存在着尊卑高下之别——男贵女贱，犹如天尊地卑。从此，“夫妇有别”的角色定位获得了明确的内涵，即男尊女卑。汉代儒学大师董仲舒不仅接受了《易传》的基本思想，而且将其发展为著名的“三纲”之说。这样一来，两性社会角色定位不仅获得了深刻的哲学依据，而且被赋予了更为具体的规定。男尊女卑的格局逐渐形成，女性心理走向了封闭柔顺。那么，深受约束的女性大都成了怨而不怒的旷世怨女！男尊女卑，这种不合理的社会规范，致使封建社会的女人在与丈夫分离后，只能在闺中承受思夫的痛苦煎熬，而没有权力去寻找属于自己的生活。

男尊女卑的社会伦理规范，构筑了一道两性社会角色定位的不等式——男外女内。《易传》篇目有云：“女正位乎内，男正位乎外，男女正，天地之大义也。”一内一外，明确规定了夫妻的日常生活各不相同的活动领域和所承担的家庭责任——男子主“四方之事”[9]，女子主“一室之事”[10]，这就肯定了夫妻双方之间不合理的依附关系，即人为地将妻子圈进五尺高墙内的方寸之地，迫使她们除了仰赖丈夫之外别无选择！女人们“一日之计，止无过饔飧井臼；终身之计，止无过生男育女”[11]，柔顺忍从是她们基本的人生态度，屈己事夫，勤勉持家，生儿育女，便是她们最高的价值追求。丈夫主外，丈夫的世界在广阔的社会；妻子治内，妻子的天地在狭小的深闺。“男外女内”使“正位乎外”的丈夫在她们心中成为须臾不可或缺的精神支柱，换句话说，社会角色定位意识的内化使她们自觉地将自己置于依附地位。一旦面临离别情境，她们便不可避免地感到孤苦无依，转而表现为催人泪下的悲苦和哀伤。“男外女内”的家庭模式是造成女人闺怨孤独意识的另一主要原因！

“男尊女卑”的社会伦理规范，“男外女内”的家庭模式，使女性在社会生活中处于从属地位。在中国封建社会，女性的人生只能像一叶浮萍那样伴随着男人们的升沉荣辱而起浮飘荡。除了传宗接代之外，女性为社会创造价值的唯一途径便是相夫教子。而男性事业的成功并不能代表他背后女性的成功。女性这种把自身的存在完全建立在男性基础上的生活，使她们难以有自我的、独立的精神天地。男性成为女性生活的中心。对于女人来说，与丈夫的别离，尤其是长久的别离，那简直是痛苦万分！所以，女性精神家园的荒芜，是产生女性闺怨孤独意识的又一原因！

综上所述，“男尊女卑”的社会伦理规范，“男外女内”的家庭模式，女性的社会从属依附地位，精神天地的荒芜，使与丈夫分离的女人们承受着一种铭心刻骨的精神空落感，导致了闺怨孤独意识的产生。因此，女性只有切断对男性的依附关系，割断家庭礼教的约束，改变社会从属地位，建立独立的精神天地，才能不用再承受那份在闺中思夫的孤独痛苦。那么，这种闺怨孤独意识自然也就消解了！

注释：

[1]周振甫：《文心雕龙今译》，中华书局，1983年版，第54页。

[2]周国平：《爱与孤独·等的滋味》，天津人民出版社，1996年第3版，第101页。

[3]转引刘玉平：《磐石心态与蒲草情结》，临师专学报，1995年，第2期。

[4]见萧统：《古诗十九·首明月何皎皎》。

[5]见萧统：《古诗十九首·孟冬寒气至》。

[6]见萧统：《古诗十九首·凛凛岁云暮》。

[7]宋洁编著：《论语》，北京出版社，文津出版社，2004年第8版。

[8]孟轲：《孟子》，新疆人民出版社，2001年版，第77页。

体现孤独情绪的古诗词名句 篇4

空自觉、围羞带减，影怯灯孤。____张炎《渡江云・山阴久客一再逢春回忆西杭渺然愁思》

等闲老去年华促。只有江梅伴幽独。____孙道绚《滴滴金・梅》

雨暗残灯棋散后，酒醒孤枕雁来初。____杜牧《齐安郡晚秋》

古路无行客，寒山独见君。____刘长卿《碧涧别墅喜皇甫侍御相访》

荷笠带斜阳，青山独归远。____刘长卿《送灵澈上人》

今夜~州月，闺中只独看。____杜甫《月夜》

已是黄昏独自愁，更著风和雨。____陆游《卜算子・咏梅》

重帏深下莫愁堂，卧后清宵细细长。____李商隐《无题・重帏深下莫愁堂》

今宵绝胜无人共，卧看星河尽意明。____陈与义《雨晴・天缺西南江面清》

衰柳寒蝉一片愁，谁肯教白衣送酒?____关汉卿《沉醉东风・重九》

当时相候赤栏桥，今日独寻黄叶路。____周邦彦《玉楼春・桃溪不作从容住》

僵卧孤村不自哀，尚思为国戍轮台。____陆游《十一月四日风雨大作》

江村独归处，寂寞养残生。____杜甫《奉济驿重送严公四韵》

冬夜夜寒觉夜长，沉吟久坐坐北堂。____李白《夜坐吟》

休问梁园旧宾客，茂陵秋雨病相如。____李商隐《寄令狐郎中》

影孤怜夜永。永夜怜孤影。____苏轼《菩萨蛮・回文秋闺怨》

回廊四合掩寂寞，碧鹦鹉对红蔷薇。____李商隐《日射》

聚散匆匆，云边孤雁，水上浮萍。____刘过《柳梢青・送卢梅坡》

今日江头两三树，可怜和叶度残春。____元稹《离思五首》

东山老，可堪岁晚，独听桓筝。____叶梦得《八声甘州・寿阳楼八公山作》

无言独上西楼，月如钩。____李煜《相见欢・无言独上西楼》

亲朋无一字，老病有孤舟。____杜甫《登岳阳楼》

幽人归独卧，滞虑洗孤清。____张九龄《感遇十二首》

以我独沉久，愧君相见频。____司空曙《喜外弟卢纶见宿》

故山知好在，孤客自悲凉。____苏轼《临江仙・送王缄》

睡起莞然成独笑，数声渔笛在沧浪。____蔡确《夏日登车盖亭》

泪眼倚楼频独语。双燕飞来，陌上相逢否?____冯延巳《鹊踏枝・几日行云何处去》

去来江口守空船，绕船月明江水寒。____白居易《琵琶行 / 琵琶引》

远去不逢青海马，力穷难拔蜀山蛇。____李商隐《咏史二首・其二》

佳人独立相思苦。薄袖欺寒竹暮。____刘镇《玉楼春・东山探梅》

邯郸驿里逢冬至，抱膝灯前影伴身。____白居易《邯郸冬至夜思家》

谁谓含愁独不见，更教明月照流黄。____沈缙凇豆乓獬什广谇侵之 / 古意 / 独不见》

恨入空帷鸾影独，泪凝双脸渚莲光，薄情年少悔思量。____顾浮朵较沙・荷芰风轻帘幕香》

无聊成独卧，弹指韶光过。____纳兰性德《菩萨蛮・新寒中酒敲窗雨》

妾身独自眠，月圆人未圆。____王元鼎《凭栏人・闺怨》

独倚阑干凝望远。一川烟草平如剪。____谢逸《蝶恋花・豆蔻梢头春色浅》

独睡起来情悄悄，寄愁何处好。____纳兰性德《谒金门・风丝袅》

花开不并百花丛，独立疏篱趣未穷。____郑思肖《画菊》

残灯明灭枕头欹，谙尽孤眠滋味。____范仲淹《御街行・秋日怀旧》

月既不解饮，影徒随我身。____李白《月下独酌四首・其一》

今日独来香径里，更无人迹有苔钱。____韩《寒食日重游李氏园亭有怀》

扁舟去作江南客，旅雁孤云。____朱敦儒《采桑子・彭浪矶》

斜髻娇娥夜卧迟，梨花风静鸟栖枝。____唐寅《美人对月》

天长雁影稀，月落山容瘦，冷清清暮秋时候。____关汉卿《沉醉东风・重九》

晚来天，空悄然，孤眠，枕檀云髻偏。____孙光宪《河传・花落》

紫塞门孤，金河月冷，恨谁诉?____朱彝尊《长亭怨慢・雁》

杨柳风柔，海棠月淡，独自倚阑时。____萨都剌《小阑干・去年人在凤凰池》

独立雕栏，谁怜枉度华年。____王沂孙《高阳台・残萼梅酸》

1.有关孤独的古诗词名句大全

2.古诗词名句

3.经典古诗词名句

4.伤感古诗词名句集锦

5.关于中秋古诗词名句

6.高考古诗词名句

7.中秋节古诗词名句

8.写秋景的古诗词名句

9.古诗词名句大全

论孤独感的作文 篇5

记得一位艺术家曾说“我很自豪，我一直都是一个人，”从事艺术的人，应是孤独为伴侣，作品为依靠吧。孤独放在哪儿，都显得神秘，因为孤独是自己，而自己却永远看不懂自己。艺术家们只为自己创作，他们的作品是协调的，不为金钱创作，也不为名誉而创作，他们只需要创作出自己的内心。他们可能孤独的，但孤独怎样?孤独也是享受啊!

一个人出生就面对形形色色的人，和自己交流的时间又有多久，必定少之又少。为什么古人有隐居的呢，因为他们不想为名利所累，他们只想珍惜自己，看花、看树、饮酒、吟诗句在山中，孤独可美好!官大官小，上至皇帝，下至百姓，终为一死，难道要去争官夺宠，累己心身吗?

《蜻蜓》里有段话：“我注意到蜻蜓一般是单飞，很少会成群结队……孤独是创作的本质，也是创作的形式。”刚读到这时，我像被电了一下似的，发酸、发胀，不可言喻之感，流入我全身，太美的话了，我从来都没有那么爱一句话了。

雨，是孤独派来的，把我关在家感受自己。于是一张床，一本书，一首歌，听电扇“吱吱”响，成了孤独，孤独成了我的伴侣。

论孤独高三作文800字 篇6

毫无目的地走在小区，不过手中的几元钱却出卖了问题所在。四周虽然有人有景有声音，可心中却出奇地空空落落，不知如何是好。”昔日杏花令我赞叹不绝，而今日只想说:“帘卷西风，人比黄花瘦。”婉婉鸣啭勾不起我的魂，只引得我一阵落魄。

买完小零食回家，可吃着吃着，我感觉越不是滋味，像被人教训了一番，心中涌出莫明的暴躁，说不出的烦腻，不禁脱口而出:“劝君能有几多愁，恰似一江春向东流”。孤独的酒，太烈，太腥，令人晕晕沉沉，又像三月的天气，忽阴忽睛，好同一拳打在棉花上，忍不住低吟:“这次第，怎一个愁字了得!”

再出去放松一下。我在人群中“寻寻觅觅”可换来得是“凄凄惨惨戚戚”：煦风拂过我的面庞，却拂不走我的忧伤。望着坐在妈妈腿上那熟睡的孩子，我愤懑:“多少恨，昨夜梦中魂。“黄昏悄然到来，带着惆怅与的越孤寂，我暗伤:“江晚正愁余，山深闻鹧鸪。”我这不像极了“小院香径独徘徊”吗?我第一次觉得人生是一场折磨，是一场与孤独的搏弈，与时间的周旋，孤立无援的坚熬......

世界上有一种最动听的声音，那便是母亲的呼唤。但丁说过这么一句话，现在，我顿悟了，孤独之余，只有亲人的陪伴才是重中之重。

论王家新诗歌中的苦难与孤独意识 篇7

一、苦难沉思的精神探索者

伟大的诗人总是思考着苦难。因为人类文明的前进总是伴随着苦难, 个人对于真理与精神的探索也是伴随着苦难。王家新的许多诗篇当中就弥漫着浓郁的苦难意识。在这种苦难的沉思当中, 王家新反省着自我, 思考着时代, 顿悟着生命的意义……对于苦难的思索体现得比较明显的是他九十年代初期的代表作品《帕斯捷尔纳斯克》。读这首诗歌, 我们可以看出王家新对于苦难承受者的崇敬。“你的嘴角更加缄默, 那是|命运的秘密, 你不能说出|只承受、承受, 让笔下的刻痕加深|为了获得, 而放弃|为了生, 你要求自己去死, 彻底地死|这就是你, 从一次次劫难里你找到我|检验我, 使我的生命骤然疼痛|从雪到雪, 我在北京的轰然泥泞的|公共汽车上读你的诗, 我在心中|呼喊那些高贵的名字|那些放逐、牺牲、见证, 那些|在弥撒曲的震颤中相逢的灵魂|那些死亡中的闪耀, 和我的|自己的土地!那北方牲畜眼中的泪光|在风中燃烧的枫叶|人民胃中的黑暗、饥饿, 我怎能|撇开这一切来谈论我自己……” (《帕斯捷尔纳斯克》) 在这首诗中充满的是“黑暗”、“放逐”、“劫难”、“牺牲”、“死亡”等意象。这些都营造出一种苦难的氛围。这首诗中吟诵的对象帕斯捷尔纳斯克是前苏联的一位伟大的诗人与作家, 他的文学体现着俄罗斯民族的良知, 然而并不为国家所理解, 承受着巨大的痛苦, 遭受着巨大的苦难。王家新其实在灵魂的深处与这位伟大的作家与诗人有一种契合。“非常明显, 这首诗中的个人化倾向, 所强调的不是从时代中抽身而退, 也不是逃避对时代的责任和对传统的绝对反叛, 而是显现为人与世界的必然相遇, 显现为个人对以往人类精神的主动承续, 以及凭借一己的存在来承担起人类命运与生活的全部压力。在这个意义上, 帕斯捷尔纳斯克其实是一个精神上的象征, 他是王家新为自己及同时代人所矗立的精神高度, 借以自我观照、涤净心灵中的雾霭。”[1]在九十年代的大环境下王家新在诗的价值上站的高度是相当高的。“王家新在《帕斯捷尔纳斯克》中所呈现出来的沉痛和受难感是同时代诗人中相当少见的, 王家新的诗歌写作技巧可能不是同时代诗人中最好的, 但是他特有的知识分子的情怀和勇于担当的精神以及对命运和时代的深锐审视却无疑是同时诗人中最为出色的, 从而使得王家新成为中国上世纪90年代以来诗歌的一个个性化的独特存在……”[2]王家新在诗歌里所体现出来的苦难意识主要是诗人的崇高追求与这个时代难以融合。当时帕斯捷尔纳斯克面对前苏联对自己的误解, 王家新对于诗歌的追求面对九十年代诗歌衰落的背景, 两者内心的苦难是有相通之处的。还有如“雷雨就要来临, 花园一阵阵变暗|一个对疼痛有深刻感受的人|对此无话可说|你早已从自己的关节那里感到|这阴沉的先兆, 现在|它来了。它说来就来了|起风的时刻, 黑暗而无助的|时刻!守望者|我们能否靠捶打岩石来承担命运?|如果我们躲避这一切, 是否就能|在别的地方找到幸福?|守望者!你的睫毛苦涩……” (《守望》) 这首诗也深切地体现着王家新的苦难意识。他似乎已经意识到诗人注定在精神上痛苦, 他已经准备好在这个时代承受一切悲苦。其实这种强烈的苦难意识实质是诗人强烈的时代责任感。“王家新作为‘中国话语场’中思考、写作与发言的中国当代诗人, 除了诗歌本体理论的探索, 他更是一直主动致力于思考中国当代汉诗的前路并为此不懈地孜孜以求。”[3]这种强烈的使命感使王家新以一种苦难意识探索中国诗歌的深层精神内涵。

二、孤独思索的守望者

真正的诗人都是孤独的, 因为他们总是提前感知人类所面临的精神痛苦与生存危机。诗人总是同时不断地在思想上超越自我, 然而与现实的重重矛盾又往往使他们陷入孤独。在整个九十年代的诗坛王家新就是这样一个孤独者。面对商业化的时代, 面对市场经济对于文学与诗歌创作的冲击, 许多诗人已经退出, 或者诗歌创作的方向上已经发生了很大的转变。但是王家新在诗中依然坚守着诗歌的崇高。“干旱的冬天。朋友们来来往往, |谈论着诗歌, 或乡间的新鲜空气。|他们有的驱车来, 有的打的来, 一个个|比十年前更有钱、更有名。不错, |诗歌是一个想象的花园, 但其中|癞蛤蟆的叫声为什么不能愤怒地响起?|我目送着人们离去, 回到大气污染屋下, |回到那个于我已日渐陌生的城里。|我已不再属于这个时代, 这样很好, |这使你有可能想象但丁回首眺望佛罗伦萨的|那一瞬;这使你有可能属于这个漫长的|冬夜:它在等待着你。” (《一九九八年春节》) 从这首诗当中可以明显地感受到王家新在这个时代孤独的坚守。在这首诗中, 朋友们依然都谈论着诗歌, 可是“比十年前更有钱、更有名”、“大气污染屋下”、“日渐陌生的城里”、“我已不再属于这个时代”, 从这些诗句当中我们能够感受到一个时代孤独的守望者。物质的追求已使昔日的朋友们放弃了诗歌, 对于诗歌的“这片净土”只有诗人一人还在坚守。但是整个时代正在发生变化, 人们对于诗歌向往已经成为历史, 这也是王家新体会到的。但是王家新还是用自己的诗歌在这个时代探索着。“毋庸置疑, 王家新是孤寂的。但是, 这种孤寂并没有吞没他, 相反, 并且由于‘孤寂’, 使得他的诗歌中更自觉地闪耀着一种‘明亮的激情’。” (1) 王家新以自己的孤独表达一种激情, 即证明诗歌依然存在的价值, 诗歌依然是人类灵魂的向导。我们必须清楚地知道王家新诗歌中的孤独并不是对于时代的逃避, 而恰恰相反他是以自己的这种独立证明诗人存在的价值。“七年了, 没有一个字来, |他只是远离我们, 旅行, 旅行;或许他已回到但丁那个时代, |流亡在家乡的天空下, 或许突然间|他出现在一个豁然开阔的谷口———|当大海闪光, 白帆点点在望。|他来到一个可以生活的地方。|七年了, 我的窗户一再蒙上白霜, |我们的炉火换成了暖气———为了|不在怀念中生活?而我一如既往, |上班、写作、与朋友聚会……|只是孤身一人时我总是有些害怕;|我怕一个我不在认识的人突然敲门。” (《旅行者》) 在这首诗中诗人在孤独中自我流放。从“七年”、“旅行”、“流亡”、“孤身一人”这些意象可以看出王家新始终让自己进入到一种诗的意境当中, 这种境界是孤独的。诗人自己也意识到了这一点, 最后一句“孤身一人时我总是有些害怕;我怕一个我不在认识的人突然敲门。”诗人很明白在诗的世界就是孤独, 甚至与这个生活的社会隔离。王家新的这种孤独探索其实就是在反抗九十年代那种商业化社会大潮对于诗歌与文学的冲击。“我们可以说, 以王家新为代表的1990年代的中国人文知识分子既承担着历史因袭的重负, 又面临新时代全能意识形态、全球化浪潮、世俗商业主义, 乃至知识界 (包括诗界) 内部大分裂等多重现实语境的复杂而暧昧的压迫与纠缠。”[4]正如王家新诗中说:“为了这一瞬|让我上路|让我独自穿过千万重晦明的山水|让我历经人间的告别、重逢……” (《“北京的树木要绿了”———友人书》) 为了诗歌, 王家新在告诉这个时代, 他愿意忍受痛苦, 他愿意在孤独中探索。最终希望在这个“非诗的时代”为诗歌能够开辟一片新天地。在九十年代的商业化大背景下, 王家新的出现是一个独特, 是诗坛的幸运, 他用自己的孤独在诗歌当中探索诗人存在的状态。

整个九十年代社会的发展对于诗歌的创作是不利的。社会主义市场经济的全面展开, 大众对于物质与表层娱乐的追求让诗歌这种精英文化受到很大的冲击。诗歌的未来发展受到很大的打击。许多诗人与读者对于诗歌都出现了严重分化。专业的诗人已经在减少, 诗人下海, 进入高校任教或者从事其他行业已经是很平常的事。很多读者也对诗歌失去关注, 或者兴趣转向更容易接受的影视娱乐。然而在九十年代王家新却以他的执著继续着探索, 继续担负以诗歌承载人类精神的重任。他在诗歌中摒弃当时诗歌创作的生活化, 而是在诗歌当中渗透苦难与孤独的意识。在这种苦难与孤独意识当中, 王家新使诗歌远离这个喧嚣的尘世。他将用自己对于苦难与孤独的重新审视, 将诗歌重新回归于一种神圣。王家新可以说才是九十年代真正的诗人。他的苦难与孤独意识让九十年代的诗歌有了真正的突破。

参考文献

[1]陈思和.中国当代文学史教程[M].上海:复旦大学出版社, 1999.9.

[2]霍俊明.在寒冷的雪中让内心和时代发声——王家新《帕斯捷尔纳克》欣赏[J].名作欣赏, 2008 (11) .

[3]蔡健.王家新与俄罗斯流亡诗人诗学关系研究[J].十堰技术学院学报, 2009 (5) .

论《古诗十九首》中的孤独感 篇8

【关键词】 高中；语文；古诗词；意象

在高中语文古诗词作品的教学中，加强学生对于作品中意象的体会是一个教学难点，这也是学生能否抓住作品表达的含义与主旨的一个重要取决因素。大部分古诗词作品都比较婉约，作者不会直抒胸臆地表达自己的思想感情，作品的主旨以及其后需要表达的情感往往是通过作者塑造的各种意象得以表达。在这样的前提下，增强学生对于古诗词作品中意象的把握与体会能力就显得非常重要。这不仅是让学生读懂作品的一个重要前提，这也是学生能够深入地去体会作品、感受作者所要表达的主要观点、领会作品传达的主旨与情感的一个阶梯。

一、在古诗词的诵读中体会作品的意象

体会与感受古诗词作品中的意象可以有很多不同的方法，结合不同风格、类型以及不同时期的古诗词作品，教师要引导学生选取正确的方式加以体会。首先，教师可以让学生在反复诵读的过程中来展开对于作品意象的捕捉，并且加深学生对于作品内涵的领会。对于那些长诗，让学生反复诵读很有必要。长诗通常在结构、语言表达乃至意象的塑造上都有一些相应的特点，而这些特点学生往往在读的过程中能够感受与体会到。不仅如此，学生在透过读的过程和文本进行近距离接触时，往往会对于诗作中塑造的意象有较为准确的捕捉，并且会慢慢感受到整首作品营造的氛围，领会作者内心的情感。在这样的基础上学生对于作品的理解与感受也会更为深入。

如《蜀道难》中的“噫吁唏！危乎高哉！蜀道之难，难于上青天”这两句统摄全诗，表明诗人在仰望蜀道时情不自已，脱口而出，“噫吁唏”是惊异之辞；“危”、“高”，同义重出，极言蜀道之高；“乎”、“哉”，皆可有延长音；“蜀道之难”，可读得平缓。诗的感情豪放，要读得有声势。学生在反复诵读这一统摄全诗的语句时，会深刻感受到作者以山为意象所传达出的一些情感与情绪，会体会到作者内心对于大自然的欣赏、赞叹与敬畏，这些都是需要学生用心领会的内容。教师不仅要让学生在诵读的过程中体会到整首诗作的美感，课堂上也需讲解相关的诗词鉴赏技巧，结合学生的反复诵读，让学生来进行品味、比较诗词中的语言在听觉、视觉方面的美感，以及整首诗作用词的精准、凝练。古诗词的教学中读是非常重要的一个环节，透过反复诵读既能够增强学生对于文本的体会与感受，这也会帮助学生更准确地捕捉文本中的意象，理解作者透过意象的描绘所传达出的思想内涵。

二、透过情境再现来体会作品的意象

对于那些本身便描摹了非常具体的一些情景的古诗词作品，教师可以透过情境再现的形式来引导学生感受作品的意象，进而帮助学生更深入地走入作者给我们营造的环境与氛围中，加强学生的学习体会。教师还可以在古诗词作品的教学中配以一些背景音乐，并且给学生做必要的作品创造的历史背景、文化背景的介绍。这些都会帮助学生更准确地捕捉与把握作品的意象，感受作者在意象塑造的基础上想要传达的意思。这也会让学生极大地增强对于古诗词作品的学习体验。

例如，白居易所作的《琵琶行并序》整篇意境就是比较低沉而凄切的。老师可以在上课之前，先选择一曲比较忧伤哀怨的琵琶独奏曲进行播放，并利用多媒体播放出相应的画面。秋风萧瑟的一个夜晚，诗人、明月、孤舟、江水构成了一个冷清的画面。哀伤的乐曲、凄冷的画面，让学生一下就能领会到诗歌的基本情感。在这种积极环境的营造下，不仅会帮助学生快速进入到作品的整体氛围中，对于作者塑造的这些意象学生的体会也会更加直接。这样的教学过程不仅能够极大地提升学生对于作品意象的捕捉与感受能力，学生对于整首作品的情感基调，以及对于作品中琵琶女的命运也会形成更为强烈的情感共鸣。

三、在类比鉴赏中加强作品意象的体会

高中语文课本中学生会有机会接触到同一作者不同时期的一些作品，对于这类教学素材，教师可以让学生在类比鉴赏的过程中来加强对于作品意象的体会。随着人物生活的不断展开，很可能会带来人物命运的一些变化。很多古文人都会以文字的形式将这些变故，以及一路以来自己的心路历程记录下来，这也就给我们留下了很多经典的古诗词作品。同一位作者的文章在风格、创作手法、语言特点上必然有着较为明显的相似性，然而，处于不同人生阶段的作品必然又会有一些不同。这种横向的类比鉴赏教学不仅能够让学生对于同一作者的创作风格形成更直观的感受，比照的过程中学生对于每一首作品中表达的意象的体会也会更加直接，这也是这种方法的教学优越性的一些典型体现。

许多诗人或词人由于其个人经历，社会背景的变化，使他/她的思想产生了很大的变化，这些都在诗人的诗作之中可以体现出来。如：比较李清照的《醉花阴》和《声声慢》，前期的作品《醉花阴》中的描述闺中少妇的“闲愁”，与后期作品《声声慢》中的国破家亡的“浓愁”有着不同的内涵，而这一典型的差异在这位女词人的很多作品中都有体现。通过类比鉴赏，会让学生对诗词中隐含的意象品味得更加真切，学生还会在比照中理解到当时社会的一些变迁，感受到人物命运发生的转变。这些都是古诗词教学中很值得学生获取的信息，在这些信息的辅助下会帮助学生更深入地感受古诗词作品表达的思想，并且能够提升学生自身的综合人文素养。（作者单位：江苏省盐城市第一中学）

【参考文献】

[1]卫芳.解析中国古典诗词中的“雨”意象[J].周口师范学院学报 2009年03期

[2]赵长慧.李白诗歌的意象[J].菏泽学院学报 2009年04期

[3]王小华.花似人，人似花——李清照词作中“花”之意象分析[J].现代语文（文学研究版） 2010年01期

[4]刘洪生.从具象到写意——中国古代诗歌中女性美描写的阶段性特征[J].名作欣赏 2008年02期

[5]罗雪莲.浅析李清照词作中的雨意象[J].青年文学家 2011年01期