摘要
历代仿骚作品始终没有偏离《离骚》怀才不遇的忧愤和忠君恋阙的主题。黄道周《续离骚》《续招魂》二文在艺术形式上继承屈骚;其题材内容则标新立异,抒写失怙之痛。黄道周以孝子事亲之情取代了屈骚忠臣事君之志,看似远离屈骚的题旨,其实是一致的。屈原是黄道周道德人格的楷模,因此黄道周追步屈原,以孝子比照忠臣,以孝子事亲比照忠臣事君;这一题材内容的开拓,是以黄道周忠孝一体的孝道观为前提的,并体现其致力于孝子而忠臣的道德养成的自修轨迹。
The works of each dynasty that imitated Lisao could never escape Lisao＇ s theme of being worried, indignant, and loyal to king as well as longs for keeping officialdom due to being talent nevertheless without recognized. Huang Dao-zhou＇s Sequel of Lisao and Sequel of evocation inherited that of Lisao by Quyuan in terms of art form, whereas his theme together with content merits eccentricity to express sorrow for losing backer. Huang Dao-zhou replaced Quyuan^s Lisao ambition of severing king with passion of dutiful son^s affability,which seems to be far away from,but in accordance essentially with the theme Of Quyuan~ s Lisao. Quyuan was the moral model for Huang Dao-zhou who followed Quyuan by means of comparing dutiful son to loyal of courtier, comparing the way dutiful son severing his parents to that of loyal courtier severing his king. The exploitation of this content, while took Huang Dao-zhou^s unifying royalty and filial piety as precondition, demonstrated the track of his self-cultivation in which to endeavor for bearing morality of both being dutiful son and loyal courtier.
出处
《泉州师范学院学报》
2011年第5期17-21,36,共6页
Journal of Quanzhou Normal University
关键词
屈原
《离骚》《招魂》
黄道周
《续离骚》《续招魂》
继承创新
孝道观
Quyuan
Lisao
evocation
Huang Dao-zhou
Sequel of Lisao
Sequel of evocation
inheritance and innovation
filial piety
