《三国演义》中诗词运用的艺术
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摘要
诗歌是语言艺术的集中表现，丰富地展示着广阔复杂的社会生活，它要求高度概括、准确凝炼、含蓄深沉、富于音乐性和浓烈的感情色彩。
在诗歌语言中，音调和谐，节奏鲜明，押大体相同的韵，就会使读者感觉悦耳动听，而且对渲染气氛、表达情感、创造意境和增强感染力也很见效。如王维的《鸟鸣涧》：“人闲桂花落，夜静春山空。月出惊山鸟，时鸣春涧中”。诗中“空”和“中”押韵。这描绘了一幅春天山林美丽的夜景图!在这个寂静得没有人声的地方，芬芳的桂花轻轻飘落，静静的夜晚，使春天的山林更加空寂。月亮升起，惊动了正在树林里栖息的山鸟，它们清脆的叫声在空旷的山涧中传响。诗人用花落、月出、鸟鸣的动景来突显月夜春山的幽静。
诗歌评议有很能够强的意境性，给人营造出丰富的想象空间。诗歌的意境是情景交融、虚实相生的，能诱发和开拓出丰富的审美想象空间。意境包括“意”和“境”两个方面，“意”是诗歌表达的思想感情，“境”是诗歌中描绘的具体景物和生活画面，如风和日丽、鸟语花香、莺歌燕舞、山青水秀、蓝天白云、夕阳晨辉。好的意境有鲜明生动的艺术形象，有强烈的富有感染力的思想内涵。能给人以丰富的想象空间。
以诗证文的著文方法是中国的传统著作方法之一。这种方法大约始创于先秦的《论语》，以后《墨子》、《孟子》都有，而《荀子》则最多，常在一段议论之后引诗用作论断。秦后在司马迁的《史记》中也不乏其例。由此可见，自孔夫子到太史公这一较长历史阶段，引诗证文已成为多数文著文的一种常用手法。
元明章回小说时期，引诗证文发展到了成熟时期，元明的章回小说家们在其著作中毫无拘束地运用诗歌赋等多种形式来表现其故事情节的趣味性、人物形象的性格特征、主题思想的深度和广度等，还通过运用诗词歌赋的点缀，为其菱增添诗体美，为散文语言增添和谐感与节奏感。
《三国演义》从篇首到卷终，运用了344首诗词(嘉靖本为344首；李卓吾评本为409首；毛宗岗删改本为206首)，作者把如此之多的诗词融入小说的叙事之中，使作品熠熠生辉，大大增强了小说的表现力和艺术魅力。诗歌是评议艺术中最美的形式，诗歌具有象外之象、景外之景、韵外之韵、味外之旨，具有“不著一字尽得风流”的审美特征。诗歌铿锵有声，气韵生动，余味无穷……。罗贯中深谙其理，在《三国演义》的创作中，不仅秉承小说叙事杂以诗歌的传统，而且借鉴话本小说引用诗词曲语的方式，开创了诗歌介人章回小说的先河。
本文将从小说中介入诗词人手，介绍《三国演义》中诗词的运用。
In the history of Chinese long literature, the literature subject of the intellectual that did not meet the wise emperor was one typical kind. It was believed that come from Han Fu that was one literature style in Chinese ancient times. In the process of taking an active part in the political, Jia Yi, Dong Zhong shuand Si Ma qian came across the political setback, so thev wrote the Fu that"Fu of Wailing Qu Yuan Bird,""An Owl Bird Fu","Fu that Shi did not meet wise emperor"and"Fu that Sad Shi did not meet wise emperor"and expressed their emotion, which formed the literature embryonic style that Shi did not meet". Under these three influences, many people after them wrote the papers and established the literature subject status that Shi did not meet in the history.
Both of the experiences and Fu of Jia Yi,Dong Zhong shu and Si Ma qian meant one kind of personality devastating and free strangling, and symbolizes one kind of most serious misery and the topmost experience of life. It highly included the feudal period society politics essential characteristic, also profoundly has promulgated the Western Han Dynasty people based on the life misery each kind of psychological flow. In these psychological flows, it has not only clearly showed the increasing and decreasing of Confucian and Taoism thought and explicitly exposed the life greatly happy and greatly sorrowful, greatly real and greatly unreal that Shi did not meet,"but also it clearly outlined for us that Shi was in serious misery life path. Jia Yi,Dong Zhongshu and Si Ma qian, Western Han Dynasty's outstanding talented people,had the intense social responsibility and the moral mission. Under the despotic power pressure, their feeling which came to the despotic politics were very intense. As an intellectual, they had very sensitive consciousness, on the other hand they endured from various aspects impetusing. The cruel society made them not to hold down their indignation,at the same time, all of them must adapt the pressure which the role as the minister bring and must withstand the psychological load of their own role expectation and the psychological balance of the ideal and the reality contradiction.So they wrote the article that expressed their ambition in search of spiritual field.Fu of Jia Yi, Dong Zhong shu, Si Ma qian is true experience of theirselves. The cruel fact has intensely stimulated their gentle mood in the past, it not only made them experiences the pain by the completely body and mind, the experience life, sincerely comprehended the life true meaning at the life transition, contacted the essential question which literary arts human destiny and survival significance discussed, but also has been pent-up their innermost feelings could not melt the depressed mood. They had to borrow the literature form to express the sadness and resentment and caused their attention from society to themselves and the thought by the extroversion.
There were many general characters on Fu of Jia Yi, Dong Zhongshu and Si Ma qian.Their Fu of Shi did not meet wise emperor showed the selfemotion and kept the subject on it.Their articles located temporarily Confucian and Taoism to seek the common spiritual home in order to consoles themselves.This kind of sad feeling contained"the resentment world"and"the resentful oneself", it inherited the Confucianist tradition that"the poem was allowed to complain". Their Fu and experiences had respective characteristic. Firstly,it displayed three different models,those were Model Jia Yi,Model Dong Zhongshu and Model SiMa qianshen.Secondly, the emotion of their articles presented the difference because their experience.At last, the different pursue showed the complex shape between concentrating and surmounting.Their Fu had very high artistic achievement, as well as the profound influence for the later generation literature development.
在诗歌语言中，音调和谐，节奏鲜明，押大体相同的韵，就会使读者感觉悦耳动听，而且对渲染气氛、表达情感、创造意境和增强感染力也很见效。如王维的《鸟鸣涧》：“人闲桂花落，夜静春山空。月出惊山鸟，时鸣春涧中”。诗中“空”和“中”押韵。这描绘了一幅春天山林美丽的夜景图!在这个寂静得没有人声的地方，芬芳的桂花轻轻飘落，静静的夜晚，使春天的山林更加空寂。月亮升起，惊动了正在树林里栖息的山鸟，它们清脆的叫声在空旷的山涧中传响。诗人用花落、月出、鸟鸣的动景来突显月夜春山的幽静。
诗歌评议有很能够强的意境性，给人营造出丰富的想象空间。诗歌的意境是情景交融、虚实相生的，能诱发和开拓出丰富的审美想象空间。意境包括“意”和“境”两个方面，“意”是诗歌表达的思想感情，“境”是诗歌中描绘的具体景物和生活画面，如风和日丽、鸟语花香、莺歌燕舞、山青水秀、蓝天白云、夕阳晨辉。好的意境有鲜明生动的艺术形象，有强烈的富有感染力的思想内涵。能给人以丰富的想象空间。
以诗证文的著文方法是中国的传统著作方法之一。这种方法大约始创于先秦的《论语》，以后《墨子》、《孟子》都有，而《荀子》则最多，常在一段议论之后引诗用作论断。秦后在司马迁的《史记》中也不乏其例。由此可见，自孔夫子到太史公这一较长历史阶段，引诗证文已成为多数文著文的一种常用手法。
元明章回小说时期，引诗证文发展到了成熟时期，元明的章回小说家们在其著作中毫无拘束地运用诗歌赋等多种形式来表现其故事情节的趣味性、人物形象的性格特征、主题思想的深度和广度等，还通过运用诗词歌赋的点缀，为其菱增添诗体美，为散文语言增添和谐感与节奏感。
《三国演义》从篇首到卷终，运用了344首诗词(嘉靖本为344首；李卓吾评本为409首；毛宗岗删改本为206首)，作者把如此之多的诗词融入小说的叙事之中，使作品熠熠生辉，大大增强了小说的表现力和艺术魅力。诗歌是评议艺术中最美的形式，诗歌具有象外之象、景外之景、韵外之韵、味外之旨，具有“不著一字尽得风流”的审美特征。诗歌铿锵有声，气韵生动，余味无穷……。罗贯中深谙其理，在《三国演义》的创作中，不仅秉承小说叙事杂以诗歌的传统，而且借鉴话本小说引用诗词曲语的方式，开创了诗歌介人章回小说的先河。
本文将从小说中介入诗词人手，介绍《三国演义》中诗词的运用。
In the history of Chinese long literature, the literature subject of the intellectual that did not meet the wise emperor was one typical kind. It was believed that come from Han Fu that was one literature style in Chinese ancient times. In the process of taking an active part in the political, Jia Yi, Dong Zhong shuand Si Ma qian came across the political setback, so thev wrote the Fu that"Fu of Wailing Qu Yuan Bird,""An Owl Bird Fu","Fu that Shi did not meet wise emperor"and"Fu that Sad Shi did not meet wise emperor"and expressed their emotion, which formed the literature embryonic style that Shi did not meet". Under these three influences, many people after them wrote the papers and established the literature subject status that Shi did not meet in the history.
Both of the experiences and Fu of Jia Yi,Dong Zhong shu and Si Ma qian meant one kind of personality devastating and free strangling, and symbolizes one kind of most serious misery and the topmost experience of life. It highly included the feudal period society politics essential characteristic, also profoundly has promulgated the Western Han Dynasty people based on the life misery each kind of psychological flow. In these psychological flows, it has not only clearly showed the increasing and decreasing of Confucian and Taoism thought and explicitly exposed the life greatly happy and greatly sorrowful, greatly real and greatly unreal that Shi did not meet,"but also it clearly outlined for us that Shi was in serious misery life path. Jia Yi,Dong Zhongshu and Si Ma qian, Western Han Dynasty's outstanding talented people,had the intense social responsibility and the moral mission. Under the despotic power pressure, their feeling which came to the despotic politics were very intense. As an intellectual, they had very sensitive consciousness, on the other hand they endured from various aspects impetusing. The cruel society made them not to hold down their indignation,at the same time, all of them must adapt the pressure which the role as the minister bring and must withstand the psychological load of their own role expectation and the psychological balance of the ideal and the reality contradiction.So they wrote the article that expressed their ambition in search of spiritual field.Fu of Jia Yi, Dong Zhong shu, Si Ma qian is true experience of theirselves. The cruel fact has intensely stimulated their gentle mood in the past, it not only made them experiences the pain by the completely body and mind, the experience life, sincerely comprehended the life true meaning at the life transition, contacted the essential question which literary arts human destiny and survival significance discussed, but also has been pent-up their innermost feelings could not melt the depressed mood. They had to borrow the literature form to express the sadness and resentment and caused their attention from society to themselves and the thought by the extroversion.
There were many general characters on Fu of Jia Yi, Dong Zhongshu and Si Ma qian.Their Fu of Shi did not meet wise emperor showed the selfemotion and kept the subject on it.Their articles located temporarily Confucian and Taoism to seek the common spiritual home in order to consoles themselves.This kind of sad feeling contained"the resentment world"and"the resentful oneself", it inherited the Confucianist tradition that"the poem was allowed to complain". Their Fu and experiences had respective characteristic. Firstly,it displayed three different models,those were Model Jia Yi,Model Dong Zhongshu and Model SiMa qianshen.Secondly, the emotion of their articles presented the difference because their experience.At last, the different pursue showed the complex shape between concentrating and surmounting.Their Fu had very high artistic achievement, as well as the profound influence for the later generation literature development.
引文
12 蔡义江．红楼梦诗词曲赋评注 北京：团结出版社，1991．9．
13 罗贯中 全图绣像三国演义(第48回总批]．呼和浩特：内蒙古人民出版种，1981．477
[1]蔡义江《红楼梦诗词曲赋评注》，团结出版社，1991年9月版
[2][晋]陈寿 《三国志·吴志·周瑜传》，中华书局，1959年12月版
[3][晋]陈寿《三国志·魏志·武帝记》，中华书局，1959年5月版
[4][唐]元稹《杜君墓系铭·元氏长庆集(卷56)》，中华书局，1982年6月版
[5]罗贯中《全图绣像三国演义(第48回总批)》内蒙古人民出版种，1981年4月版
[6]关四平《三国演义源流研究》，黑龙江教育出版社，2001年11月版
[7]丘振声《三国演义纵横谈》，漓江出版社，1983年1月版
[8]徐虎《试论(世说新语)对(三国志通俗演义)的影响》，载《明清小说研究)1996年第1期。
[9]子衿《〈三国演义〉与〈世说新语〉》，载《江苏教育学院学报》，1997年第2期
[10]胡碌《〈三国演义〉改造〈世说新语〉的艺术成就》，载《上饶师专学报》，1998年第4期
[11]齐慧源《〈三国演义〉对〈世说新语〉材料的援引与重构》，载《徐州教育学院学报》2003年第4期
[12]于洪江《试论〈搜神记〉对〈三国演义〉的影响》，载《佳木斯教育学院学报》，1992年第1期。
[13]苏兴《〈三国志演义〉识小》，载《东北师大学报》，1992年第5期
[14]张蕊青《〈三国志演义〉取材蓝本与思想渊源新探》，载《江苏社会科学报》2003年第5期
[15]叶胥、冒圻《唐诗对〈三国演义〉的影响》，江苏人民出版社，1984年版
[16]陈翔华《诸葛亮形象史研究》，浙江古籍出版社，1990年12月
[17]易重廉《浅论胡曾的咏史诗对〈三国演义〉的影响》，载《邵阳学院学》，1994年第3期
[18]一粟《谈唐代的三国故事》，载《文学遗产》，增刊第10辑，1962年
[19]李小荣《唐代释家经疏中的三国故事》，载《福建师范大学学报》，2001年第3期
[20]王晓昀《中国的传统美学与现代小说》，南开大学学报，1988年第5期
[21]舒新城，沈颐，徐元诰，张相《辞海》，中华书局出版社，1980年
[22]赵仲邑《文心雕龙泽注》，漓江出版社，1985年
[23]朱一玄、刘毓忱编《三国演义资料汇编》．百花文艺出版社，1983年10月
[24]陈其欣选编《名家解读〈三国演义〉》，山东人民出版社，1998年1月
[25]纪德君著《明清历史演义小说艺术论》，北京师范大学出版社，2000年11月
[26]宋常立著《中国古代小说文体论》，天津社会科学院出版社，2000年7月
[27]沈伯俊著《三国演义新探》，四川人民出版社，2002年5月
[28]胡士莹著《话本小说概论》，中华书局，1980年5月
[29]郑铁生著《三国演义叙事艺术》，新华出版社，2000年8月
[30]周兆新 主编《三国演义丛考》，北京大学出版社，1995年
[31]郑铁生著《三国演义诗词鉴赏》，天津古籍出版社 2003年1月
13 罗贯中 全图绣像三国演义(第48回总批]．呼和浩特：内蒙古人民出版种，1981．477
[1]蔡义江《红楼梦诗词曲赋评注》，团结出版社，1991年9月版
[2][晋]陈寿 《三国志·吴志·周瑜传》，中华书局，1959年12月版
[3][晋]陈寿《三国志·魏志·武帝记》，中华书局，1959年5月版
[4][唐]元稹《杜君墓系铭·元氏长庆集(卷56)》，中华书局，1982年6月版
[5]罗贯中《全图绣像三国演义(第48回总批)》内蒙古人民出版种，1981年4月版
[6]关四平《三国演义源流研究》，黑龙江教育出版社，2001年11月版
[7]丘振声《三国演义纵横谈》，漓江出版社，1983年1月版
[8]徐虎《试论(世说新语)对(三国志通俗演义)的影响》，载《明清小说研究)1996年第1期。
[9]子衿《〈三国演义〉与〈世说新语〉》，载《江苏教育学院学报》，1997年第2期
[10]胡碌《〈三国演义〉改造〈世说新语〉的艺术成就》，载《上饶师专学报》，1998年第4期
[11]齐慧源《〈三国演义〉对〈世说新语〉材料的援引与重构》，载《徐州教育学院学报》2003年第4期
[12]于洪江《试论〈搜神记〉对〈三国演义〉的影响》，载《佳木斯教育学院学报》，1992年第1期。
[13]苏兴《〈三国志演义〉识小》，载《东北师大学报》，1992年第5期
[14]张蕊青《〈三国志演义〉取材蓝本与思想渊源新探》，载《江苏社会科学报》2003年第5期
[15]叶胥、冒圻《唐诗对〈三国演义〉的影响》，江苏人民出版社，1984年版
[16]陈翔华《诸葛亮形象史研究》，浙江古籍出版社，1990年12月
[17]易重廉《浅论胡曾的咏史诗对〈三国演义〉的影响》，载《邵阳学院学》，1994年第3期
[18]一粟《谈唐代的三国故事》，载《文学遗产》，增刊第10辑，1962年
[19]李小荣《唐代释家经疏中的三国故事》，载《福建师范大学学报》，2001年第3期
[20]王晓昀《中国的传统美学与现代小说》，南开大学学报，1988年第5期
[21]舒新城，沈颐，徐元诰，张相《辞海》，中华书局出版社，1980年
[22]赵仲邑《文心雕龙泽注》，漓江出版社，1985年
[23]朱一玄、刘毓忱编《三国演义资料汇编》．百花文艺出版社，1983年10月
[24]陈其欣选编《名家解读〈三国演义〉》，山东人民出版社，1998年1月
[25]纪德君著《明清历史演义小说艺术论》，北京师范大学出版社，2000年11月
[26]宋常立著《中国古代小说文体论》，天津社会科学院出版社，2000年7月
[27]沈伯俊著《三国演义新探》，四川人民出版社，2002年5月
[28]胡士莹著《话本小说概论》，中华书局，1980年5月
[29]郑铁生著《三国演义叙事艺术》，新华出版社，2000年8月
[30]周兆新 主编《三国演义丛考》，北京大学出版社，1995年
[31]郑铁生著《三国演义诗词鉴赏》，天津古籍出版社 2003年1月