1969年,李谷一随湖南花鼓剧团下放到边远的江华瑶乡码市镇水口寨村。李谷一血液里流淌的是歌唱的艺术细胞,江华瑶乡的瑶民同样是爱唱歌的胚子。当秀才遇到诗人,当然弹冠相庆。于是乎,瑶乡的山,瑶乡的水,瑶乡的人,都成了可弹奏的音符,这所有的一切均融入到日后歌唱、生活的骨髓里。经过后续几十年传唱,李谷一终随《梦里边城》成就人生丰碑而《难忘今宵》! https://t.cn/RJLIdHo
#每日一句#
While the last lives in those images, and only in them, with joyful complacence, and never tires of scanning them down to the most minute features, while even the image of angry Achilles is no more for him than an image whose irate countenance he enjoys with a dreamer's delight in appearance--so that this mirror of appearance protects him from complete fusion with his characters--the lyrical poet, on the other hand, himself becomes his images, his images are objectified versions of himself.
因为后者生活在这些画景中,而只有在画景中才欣然自得,他静观万象,秋毫不爽,却依依不舍,乐此而不疲。甚至愤怒的阿客琉斯的形象,在他看来,也不过是一幅画景而已。他怀着追求幻梦的快感来欣赏阿客琉斯的愤怒表情。所以,在这幻影的掩护下,他就不致与诗中人物共甘苦,同呼吸。反之,抒情诗人所描写的画景不是别的,正是他本人,而且仿佛只是他自己的各种投影。
While the last lives in those images, and only in them, with joyful complacence, and never tires of scanning them down to the most minute features, while even the image of angry Achilles is no more for him than an image whose irate countenance he enjoys with a dreamer's delight in appearance--so that this mirror of appearance protects him from complete fusion with his characters--the lyrical poet, on the other hand, himself becomes his images, his images are objectified versions of himself.
因为后者生活在这些画景中,而只有在画景中才欣然自得,他静观万象,秋毫不爽,却依依不舍,乐此而不疲。甚至愤怒的阿客琉斯的形象,在他看来,也不过是一幅画景而已。他怀着追求幻梦的快感来欣赏阿客琉斯的愤怒表情。所以,在这幻影的掩护下,他就不致与诗中人物共甘苦,同呼吸。反之,抒情诗人所描写的画景不是别的,正是他本人,而且仿佛只是他自己的各种投影。
陶渊明诗歌的风格是平淡自然,他的田园诗集中表现了这一特色。具体表现在两个方面:一是平淡与醇美的统一,陶诗在平淡的外表下,含蓄着炽热的思想感情和浓郁的生活气息,意味隽永,淡而有味。二是情、景、理的统一,陶渊明善于用白描及写意的手法勾勒景物、点染环境,意境浑成高远,不纯客观地刻画景物,在他的笔下景物总是饱含着诗人的感情,体现着诗人的性格,诗人常在抒情写景中用朴素的语言,说明一些生活哲理,既富于情趣,又富于理趣,将兴寄与自然美融为一体。但陶诗也有金刚怒目的慷慨豪放的作品,如《咏荆轲》、《读山海经》(精卫含微木)等。
✋热门推荐