浅析唐诗中的“别鹤”意象

中国古代对鹤的描写始于鹤鸣,先秦文献记载认为鹤鸣有求友引朋之意。后来蔡邕的《琴操》与鹤意象相结合,形成了表达夫妻分离的“别鹤”意象。唐代稳定的外部环境和便利的交通使诗人离别逐渐常态化,唐诗中“别鹤”意象过渡为友人离别。唐代诗人整体更积极入世,被贬谪的情况也更常见,使诗歌的情感在传统离别之情外增添了知识分子“仕”和“隐”的人生抉择之苦,深化了别鹤意象。文人们敏感地在“羁鹤”与“困士”中建立同构对应关系,逐渐形成了鹤悲情结。文人在鹤悲情结中产生了对生命的喟叹,对命运无常的拷问和对生命有限性与追求的无限性之矛盾的思索,让诗歌中的鹤悲情结上升到哲学高度。

On the Image of "Parting Cranes" in Tang Poems

In ancient times of China,writing cranes was mainly writing about their whooping,and according to the pre-Qin literature crane whooping was a means of seeking and inviting friends.When it comes to the Eastern Han Dynasty,Cai Yong combined his book Qincao(Guide to the Zither)with crane images and created the image of“parting cranes”to describe the separation of husband and wife.In the Tang Dynasty,the stable external environment and convenient transportation made parting a common practice,so the“parting cranes”in the poems then was mainly for the parting between friends.Poets of the Tang Dynasty as a whole were more willing to go into the society and were more frequently relegated at the same time,which added to the emotion of their poems,apart from the parting sentiment,the bitterness of life choices of literati between serving the emperor and retiring from the world,and highlighted the image.The literati sensitively established an isomorphic correspondence between“caged crane”and“trapped scholar”,and the crane grief complex was gradually formed,in which the literati sighed over life,questioned the uncertainty of fate,and thought about the contradiction between the finity of life and the infinity of pursuit,raising this complex in the poems to a philosophical level.