大师作文网英语翻译Another critic,Hsiav Tzu-hsien萧子显(A.D.489-537) says in h
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英语翻译
Another critic,Hsiav Tzu-hsien萧子显(A.D.489-537) says in his appendix to the biographies of literary men in the “History of tke Southern Ch’i`Dynasty” (A.D.479-501):
“The prevailing taste south of the Yangtze made the words of the Taoist schools flourish.Kuo P'u 郭业 brought to light its magic transformations,Hsü Hsün carried the Doctrine of Names(Ming chiao) to its highest pitch.This mystic spirit was still not entirely lacking in (Yin)Chung-wen殷仲文,Hsieh Hun 谢混 discovered a new range of cmotions but he has never had the recognition that he deserves.”
Perhaps the fullest account of the literary history of this period is given by a passage in the lost historical work the Hsü Chin Yang Ch’iu续晋阳秋 of Tan Tao-luan 檀道鸾（fl:fifth century A.D.）which in discussing the verse of Hsü Hsün also gives a useful account of the developments leading up to it.
“Hsün had a gift for style and wrote well.Since the time if geniuses like Ssu-ma Hsiang-ju 司马相如 （179-117 B.C.）,Wang Pao 王褒 thought highly of `Fu' poems and‘Odes’and modelled their style on the ,Wang Shih Ching 诗经 and the Li Sao 离骚,making an eclectic choice from all the words of the philosophic schools.
“During the Chien-an period (A.D.196-219) poetry was in a very flourishing state.Even up to the end of the Western Chin dynasty (A.D.317) Pan Yo潘岳(A.D.247-300),Lu Chi陆机(A.D.261-303) and their followers all had the same aims although some used simple language and some ornate.
“During the Cheng-shih period (A.D.240-9) Wang Pi王弼(A.D.226-49)and Ho Yen何晏 loved the mysticism in the discourse of Chuang 庄 and Lao 老 and everyone admired them.After the crossing of the Yangtze (i.e.after the fall of Western Chin in A.D.317) Buddhism flourished greatly and it was on account of this that the five word poems of Kuo P’u first put into rhyme the words of the Taoists.
“Hsün and Sun Ch’o of the T’ai-yüan period (A.D.376-97) on the contrary thought highly of Buddhism,so they for their part added phrases from the Three Ages(三世 i.e.past,present and future,a Buddhist term)to their style and completely did away with forms based on the Shih Ching and the Li Sao.Hsün and Ch’o were the best writers of their time and from them all scholars took their style as a model.During the I-hsi period (A.D.405-19) Hsieh Hun began to change this.”
The above quotations give a good idea of the contemporary opinions about the development of Mature poetry.By combining the various points of view of all these critics one may arrive at something Like the following resume of their arguments:
“Chung-wen was the first to alter the influence of Sun and Hsü.Shu-yüan brought about a change in the spirit of the T’ai-yüan period(A.D.367-97).By the time of the House of Sung we find that Yen (i.e.Yen Yen-chih 颜延之)and Hsieh (i.e.Hsieh Ling-yün) excelled everybody else in verse.Ling-yün's metaphorical style is of the highest order while Yen-nien's form is brilliant and finely chiselled.Both ran side by side in the tracks left by the great writers of the past and bequeathed a model for posterity.”
Hsü Hsün是许询 之前还落下了一段
Another critic,Hsiav Tzu-hsien萧子显(A.D.489-537) says in his appendix to the biographies of literary men in the “History of tke Southern Ch’i`Dynasty” (A.D.479-501):
“The prevailing taste south of the Yangtze made the words of the Taoist schools flourish.Kuo P'u 郭业 brought to light its magic transformations,Hsü Hsün carried the Doctrine of Names(Ming chiao) to its highest pitch.This mystic spirit was still not entirely lacking in (Yin)Chung-wen殷仲文,Hsieh Hun 谢混 discovered a new range of cmotions but he has never had the recognition that he deserves.”
Perhaps the fullest account of the literary history of this period is given by a passage in the lost historical work the Hsü Chin Yang Ch’iu续晋阳秋 of Tan Tao-luan 檀道鸾（fl:fifth century A.D.）which in discussing the verse of Hsü Hsün also gives a useful account of the developments leading up to it.
“Hsün had a gift for style and wrote well.Since the time if geniuses like Ssu-ma Hsiang-ju 司马相如 （179-117 B.C.）,Wang Pao 王褒 thought highly of `Fu' poems and‘Odes’and modelled their style on the ,Wang Shih Ching 诗经 and the Li Sao 离骚,making an eclectic choice from all the words of the philosophic schools.
“During the Chien-an period (A.D.196-219) poetry was in a very flourishing state.Even up to the end of the Western Chin dynasty (A.D.317) Pan Yo潘岳(A.D.247-300),Lu Chi陆机(A.D.261-303) and their followers all had the same aims although some used simple language and some ornate.
“During the Cheng-shih period (A.D.240-9) Wang Pi王弼(A.D.226-49)and Ho Yen何晏 loved the mysticism in the discourse of Chuang 庄 and Lao 老 and everyone admired them.After the crossing of the Yangtze (i.e.after the fall of Western Chin in A.D.317) Buddhism flourished greatly and it was on account of this that the five word poems of Kuo P’u first put into rhyme the words of the Taoists.
“Hsün and Sun Ch’o of the T’ai-yüan period (A.D.376-97) on the contrary thought highly of Buddhism,so they for their part added phrases from the Three Ages(三世 i.e.past,present and future,a Buddhist term)to their style and completely did away with forms based on the Shih Ching and the Li Sao.Hsün and Ch’o were the best writers of their time and from them all scholars took their style as a model.During the I-hsi period (A.D.405-19) Hsieh Hun began to change this.”
The above quotations give a good idea of the contemporary opinions about the development of Mature poetry.By combining the various points of view of all these critics one may arrive at something Like the following resume of their arguments:
“Chung-wen was the first to alter the influence of Sun and Hsü.Shu-yüan brought about a change in the spirit of the T’ai-yüan period(A.D.367-97).By the time of the House of Sung we find that Yen (i.e.Yen Yen-chih 颜延之)and Hsieh (i.e.Hsieh Ling-yün) excelled everybody else in verse.Ling-yün's metaphorical style is of the highest order while Yen-nien's form is brilliant and finely chiselled.Both ran side by side in the tracks left by the great writers of the past and bequeathed a model for posterity.”
Hsü Hsün是许询 之前还落下了一段
@_@无语,老外怎么对中国文化比中国人还了解.大概看了一下,类似于中国文学史.
另一位评论家萧子显（公元489-537年）在他写的《南齐书》(公元479-201年)文人列传中提到：
长江以南地区盛行的风气使道家学派十分繁荣.郭业使之产生质的转变,许逊又使Doctrine of Names到达了巅峰.这种神秘的精神理论在殷仲文时期并不完整,直到和谢混完善了它,尽管他并没有意识到.
也许这个时期理论上的真正完善,是檀道鸾的（公元5世纪）《续晋阳秋》,它谈论了许逊作品的节选段,对其发展有领导作用.
许逊对于文风和写作有很好的天赋.由于当时的文化大家,诸如司马相如（公元179-117年）,王褒,对于“赋”这种文体的评价很高,并且擅长作赋.（这里好像漏了一句?）,诗经和离骚,使哲学派在选词时倾向于折中.
在建安时期（公元196-219年）,诗歌艺术十分繁荣.甚至直到西晋末年（公元317年）,以潘岳（公元247-300年）,陆机（公元261-303年）为首的诗人仍以作诗为主业,尽管在文风上略有不同,有的用辞质朴,有的辞藻华丽.
在Cheng-shih时期（公元240-9年【这个年代貌似打错了?】）,受大众景仰的王弼（公元226-49【年代错误?】）与何晏,崇尚神秘主义的老庄教义.在长江被攻破（即西晋王朝于公元317年的覆没）,佛教开始兴盛,并由Kuo Pu第一次将五言诗的韵律使用在道家典籍中.
T’ai-yüan时期的许逊和Sun cho'o （公元376-97年）,相反地,崇尚佛学,所以他们的作品中有许多关于佛教三世（前世,今生,来世）的词汇,他们的文风也脱离了诗经和离骚,开创了自己的风格.许逊和Sun cho'o是当时最好的作家,从他们开始,所有的学者都学习他们的文风.直到 I-hsi时期（公元405-19年）,Hsieh Hun才开始改变这种情况.
对于成熟诗歌发展的当代观点,上述引证给予了一个很好的概念.结合所有评论家的不同观点,可以将他们的论证概括如下：
Chung-wen 是第一个改变Sun和Hsü影响的人.Shu-yüan给T’ai-yüan时期（公元367-97年）带来了新的理念.宋朝时,颜氏（如颜延之）和Hsieh氏（如Hsieh Ling-yün）,在诗歌上凌越众人.Ling-yün's对隐喻手法的运用炉火纯青,而Yen-nien的文风清明质朴.他们在前人留下的轨迹上相辅相成,承前启后,给后人树立了典范.
差不多这样了.
另一位评论家萧子显（公元489-537年）在他写的《南齐书》(公元479-201年)文人列传中提到：
长江以南地区盛行的风气使道家学派十分繁荣.郭业使之产生质的转变,许逊又使Doctrine of Names到达了巅峰.这种神秘的精神理论在殷仲文时期并不完整,直到和谢混完善了它,尽管他并没有意识到.
也许这个时期理论上的真正完善,是檀道鸾的（公元5世纪）《续晋阳秋》,它谈论了许逊作品的节选段,对其发展有领导作用.
许逊对于文风和写作有很好的天赋.由于当时的文化大家,诸如司马相如（公元179-117年）,王褒,对于“赋”这种文体的评价很高,并且擅长作赋.（这里好像漏了一句?）,诗经和离骚,使哲学派在选词时倾向于折中.
在建安时期（公元196-219年）,诗歌艺术十分繁荣.甚至直到西晋末年（公元317年）,以潘岳（公元247-300年）,陆机（公元261-303年）为首的诗人仍以作诗为主业,尽管在文风上略有不同,有的用辞质朴,有的辞藻华丽.
在Cheng-shih时期（公元240-9年【这个年代貌似打错了?】）,受大众景仰的王弼（公元226-49【年代错误?】）与何晏,崇尚神秘主义的老庄教义.在长江被攻破（即西晋王朝于公元317年的覆没）,佛教开始兴盛,并由Kuo Pu第一次将五言诗的韵律使用在道家典籍中.
T’ai-yüan时期的许逊和Sun cho'o （公元376-97年）,相反地,崇尚佛学,所以他们的作品中有许多关于佛教三世（前世,今生,来世）的词汇,他们的文风也脱离了诗经和离骚,开创了自己的风格.许逊和Sun cho'o是当时最好的作家,从他们开始,所有的学者都学习他们的文风.直到 I-hsi时期（公元405-19年）,Hsieh Hun才开始改变这种情况.
对于成熟诗歌发展的当代观点,上述引证给予了一个很好的概念.结合所有评论家的不同观点,可以将他们的论证概括如下：
Chung-wen 是第一个改变Sun和Hsü影响的人.Shu-yüan给T’ai-yüan时期（公元367-97年）带来了新的理念.宋朝时,颜氏（如颜延之）和Hsieh氏（如Hsieh Ling-yün）,在诗歌上凌越众人.Ling-yün's对隐喻手法的运用炉火纯青,而Yen-nien的文风清明质朴.他们在前人留下的轨迹上相辅相成,承前启后,给后人树立了典范.
差不多这样了.
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