詩(shī)
Shi (Poetry)
圖片來(lái)源：學(xué)習(xí)強(qiáng)國(guó)
中國(guó)古代文學(xué)的主要體式，也是中國(guó)古代最早產(chǎn)生的文學(xué)體式。它按照一定的節(jié)奏、韻律、字?jǐn)?shù)和句式要求，用凝練的語(yǔ)言、豐富的想象反映社會(huì)生活、表達(dá)思想情感?！霸?shī)”與“文”是中國(guó)古代文學(xué)的主要形態(tài)，古人所說(shuō)的“詩(shī)”主要分古體詩(shī)和近體詩(shī)，一般不包括唐以后出現(xiàn)的詞曲。古體詩(shī)也叫古風(fēng)，是近體詩(shī)產(chǎn)生前除楚辭體之外的各種詩(shī)體的通稱，其格律比較自由，不拘對(duì)仗、平仄，押韻較寬，篇幅長(zhǎng)短不限，句子有四言、五言、六言、七言、雜言；近體詩(shī)也叫格律詩(shī)，它的字?jǐn)?shù)、押韻、平仄、對(duì)仗都有嚴(yán)格的規(guī)定，有五絕、七絕、五律、七律、排律等。詩(shī)與詞曲的區(qū)別是：詩(shī)不配樂(lè)，詞曲可配樂(lè)歌唱。在中國(guó)，詩(shī)已有兩千多年的歷史，古人認(rèn)為詩(shī)能夠連通人與自然、表達(dá)志向、抒發(fā)情性，集中體現(xiàn)了中國(guó)文學(xué)藝術(shù)的精神特質(zhì)與審美追求，這與西方將詩(shī)看作文學(xué)的門類很不相同。在中國(guó)古代，儒家思想對(duì)詩(shī)的創(chuàng)作有重要指導(dǎo)作用，而道家與佛教思想對(duì)于詩(shī)的意境理論影響深遠(yuǎn)。因中國(guó)最早的詩(shī)集是《詩(shī)經(jīng)》，所以后世也用“詩(shī)”專指《詩(shī)經(jīng)》。
Shi (詩(shī)) is a major genre of ancient Chinese literature, the earliest literary form that emerged in China. Observing the requirements of a certain rhythm, rules of rhyming, number of characters, and type of verses, and using concise language and rich imagination, it reflects social life and conveys thoughts and emotions. Shi and wen (文) are two principal forms of ancient Chinese literature. Shi, as referred to by the ancient Chinese, consists of the older type of poetry and the latter type of poetry. It generally does not include ci (詞 lyric) and qu (曲 melody), which appeared as literary genres after the Tang Dynasty. The older type of shi is also called gufeng (古風(fēng)), meaning ancient style, which is a general appellation for all kinds of poetic forms produced prior to the latter type of shi, except the style employed in the odes of Chu. With relatively few restrictions in rules and forms, shi is not constrained by any antithetical arrangement or a fixed tone pattern, and its rhyme is fairly free. In addition, the length of a piece is not limited. A verse may have four, six, seven, or a mixed number of Chinese characters. The latter type of shi is also called gelüshi (格律詩(shī)), meaning poetry with fixed patterns. Its number of characters, rhyming, tone pattern, and antithetical arrangement are all strictly fixed. A poem of this type may contain four lines (known as jue 絕), each with five or seven characters, or eight lines (known as lü 律), each with five or seven characters. Occasionally, it is much longer than normal, expanding to one and a half dozen lines, which is referred to as pailü (排律). The difference between shi, and ci and qu is that the former is not set to music, while the latter may be set to music and sung. Shi has existed as a literary form for more than 2,000 years in China. Ancient Chinese used shi to connect humans with nature, voice aspirations, and give to emotions. It embodied the spirit and aesthetic pursuits of literature and art in ancient China, which is very different from the West, which only sees poetry as a category of literature. In ancient China, Confucian thought played an important guiding role in poetic creation, while Daoist and Buddhist thoughts had a profound influence on the theory of poetry's artistic conception. Since 'The Book of Songs' was China's earliest collection of poems, later generations also used shi to refer to 'The Book of Songs' in particular.
引例 Citations：
◎詩(shī)言志，歌永言，聲依永，律和聲。（《尚書·堯典》）
詩(shī)是表達(dá)內(nèi)心志向的，歌是用語(yǔ)言來(lái)吟唱的。隨詩(shī)的吟唱而有抑揚(yáng)疾徐的聲音變化，再用音律來(lái)調(diào)和聲音。
Shi gives expression to aspirations while songs are verses for chanting. In singing, shi undergoes changes in tempo and tone; then it harmonizes sounds with meter and melody. (The Book of History)
◎詩(shī)，言其志也；歌，詠其聲也；舞，動(dòng)其容也；三者本于心，然后樂(lè)器從之。（《禮記·樂(lè)記》）（詩(shī)，用語(yǔ)言表達(dá)人的志向；歌，用吟唱表達(dá)內(nèi)心的想法；舞，是將內(nèi)心的想法呈現(xiàn)于形體的各種舞姿。這三者都發(fā)自內(nèi)心，之后才以樂(lè)器演奏加以配合。）
Shi expresses aspirations through written words, whereas songs do so via chanting. Dancing is a sequence of body movements to project one's emotions. All these three forms of art come forth from the heart, accompanied by musical performance. (The Book of Rites)
◎氣之動(dòng)物，物之感人，故搖蕩性情，行諸舞詠。照燭三才，暉麗萬(wàn)有，靈祗待之以致饗，幽微藉之以昭告。動(dòng)天地，感鬼神，莫近于詩(shī)。（鐘嶸《詩(shī)品序》）
四季的氣候引起景物變化，景物變化感發(fā)人的內(nèi)心，引起人的性情起伏跌宕，并通過(guò)舞蹈吟唱表現(xiàn)出來(lái)。它輝映著天、地、人，讓萬(wàn)物亮麗生輝，天上的神祇依賴它接受享祀，幽冥的神靈也通過(guò)它明告天下。而感動(dòng)天地、鬼神的，沒(méi)有比詩(shī)更接近的了。
The four seasons bring changes in scenery, which in turn stir one's emotions. One gives expression to such emotions through dancing and chanting. Poetry thus illuminates heaven, earth and humans, making everything clear and bright. The gods in heaven rely on it to perform sacrificial rituals and the spirits in the nether world use it to communicate with the world. Among those which move heaven, earth and the spirits, nothing comes near poetry! (Zhong Rong: Preface toThe Critique of Poetry)
（推薦：教育部 國(guó)家語(yǔ)委 供稿：北京外國(guó)語(yǔ)大學(xué) 外語(yǔ)教學(xué)與研究出版社）
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