[转载]唐诗与悲剧意识(三)

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32px;;;"}],"childNodes":[{"nodeName":"text","nodeValue":"依张法教授的划分标准，中国文化的天道意识主要包括历史和自然，即所谓的“天人之际”和“古今之变”。以此类推，天道悲剧意识就自然而然的分为历史悲剧意识和自然悲剧意识。但通常情况下，自然悲剧意识的产生往往都是由其他的悲剧意识引发，基本属于其他悲剧意识的附属之悲，所以我不将他列为一种独立的悲剧意识模式。所以在这里，我仅分析一下天道悲剧意识中的历史悲剧意识。","nodeType":"3","display":"inline","nodeAttrs":[],"childNodes":[]}]}]},{"nodeName":"p","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[{"attrName":"style","attrValue":"margin-right: 0px; margin-bottom: 5px; margin-left: 0px; border: 0px; list-style: none; word-wrap: normal; word-break: normal;;"}],"childNodes":[{"nodeName":"span","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"style","attrValue":"word-wrap: normal;word-break: normal;line-height: 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color: rgb(70, 70, 70); background-color: rgb(113, 192, 231);;"}],"childNodes":[{"nodeName":"p","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"span","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"style","attrValue":"color: rgb(136, 165, 168);;"}],"childNodes":[{"nodeName":"text","nodeValue":"前一篇：","nodeType":"3","display":"inline","nodeAttrs":[],"childNodes":[]}]},{"nodeName":"a","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[{"attrName":"style","attrValue":"color: rgb(9, 67, 130);;"}],"childNodes":[{"nodeName":"text","nodeValue":"[转载]唐诗与悲剧意识(二)","nodeType":"3","display":"inline","nodeAttrs":[],"childNodes":[]}]}]}]}]},"imageUrls":["https://image109.360doc.com/DownloadImg/2019/09/2712/171955898_1_20190927120352597.gif","https://image109.360doc.com/DownloadImg/2019/09/2712/171955898_1_20190927120352597.gif"],"text":"原文地址：唐诗与悲剧意识(三)作者：北羽三、 天道悲剧意识----天若有情天亦老   依张法教授的划分标准，中国文化的天道意识主要包括历史和自然，即所谓的“天人之际”和“古今之变”。以此类推，天道悲剧意识就自然而然的分为历史悲剧意识和自然悲剧意识。但通常情况下，自然悲剧意识的产生往往都是由其他的悲剧意识引发，基本属于其他悲剧意识的附属之悲，所以我不将他列为一种独立的悲剧意识模式。所以在这里，我仅分析一下天道悲剧意识中的历史悲剧意识。   成复旺教授在《神与物游》一书中有这样一段描述：“在中国传统美学看来，审美主体主要不是指感受客体的美的能力，而是指主体自身的精神和性情，真正的美也不在于客体，而在于主体。”悲剧意识和审美活动其实同出一理，真正的悲剧不是来自客体，而在于主体。“以我观物，故物着我之色彩”同样的，以我观历史，故历史着我之色彩。历史其实只是引发悲剧意识的引子或者只是士人寄托悲剧意识的载体而已。真正的悲剧还在于人自身之悲。   我们前面谈到过，中国人缺乏外在的信仰，所以当他们遭遇人生困境和政治困境的时候，往往首先叩问天地，但他们的文化信仰又明确的告诉他们，苍天不可问，于是，他们将这种追寻转向历史，希望从历史中得到答案或者即使一丝丝的慰藉。但大多数情况下，历史给他们的往往不是慰藉，反而是更深的打击。或者说对历史的询问使你更加感受到天道的永恒，自身的空虚和惶恐，使你更加疑惑人生的价值和意义，更加疑惑人生的真相。这样又将对历史的询问转回到对自身的询问，一切的困惑和苦难还得自己承受，或者说更大的苦难和困惑将要自己去承受。这就是天道悲剧之悲。                 前不见古人，后不见来者念天地之悠悠，独怆然而涕下             ----- 陈子昂《登幽州台歌》  这是一首千古绝唱。当时，武则天委派武攸宜率军征讨，陈子昂在武攸宜幕府担任参谋，随同出征。武为人轻率，缺少谋略。次年兵败，情况紧急，陈子昂请求遣万人作前驱以击敌，武不允。稍后，陈子昂又向武进言，不听，反把他降为军曹。诗人接连受到挫折，眼看报国宏愿成为泡影，于是，诗人登上蓟北楼，慷慨悲吟，写下了这首千年绝叹。   诗人满腔抱负，而且胸怀王佐之才。然而世无伯乐，他无法施展自己的才华。诗人登上幽州台，只见茫茫宇宙，天长地久，不禁感到孤单寂寞，悲从中来，怆然泪下。继而诗人想到了燕昭王高筑黄金台招贤纳士的往事，对比自己生不逢时，怀才不遇的悲凉境地。诗人不觉悲上加悲。   “从超越时空的意义上看，《登幽州台歌》已经超出了原有的怀古意义。”（冷成金语）诗人独立于天地之间，不觉间由对历史的追询转到对人生意义和价值的追询。人生的真相是什么？人生的价值和意义何在？“古人和来者似乎皆不足凭，过去和未来也似乎难以为据。”一切的困惑和苦难都向诗人袭来，深沉的悲剧意识也就随之而来。  结束语：唐朝是我国历史上空前的盛世，而盛世很容易导致人的被抛弃，所以政治悲剧频发。唐朝又是一个多事的朝代，因此日常悲剧亦频发。人生的困境和困惑又使人不得不产生对天道的追询。同时在唐朝，诗歌一直是文学的主要形式，这就注定唐诗和悲剧意识难舍难分。分享：1喜欢0赠金笔阅读(5)┊ 评论 (0)┊\t收藏(0) ┊转载原文\t┊ 喜欢▼ ┊打印┊举报/Report前一篇：[转载]唐诗与悲剧意识(二)"}