2) To indulge oneself in lust
纵情女色
3) sound and scene Yan Qing
声色艳情
1.
We can draw the conclusion after comprehensive research as below: it is the sound and scene Yan Qing effect brought by Wu sound and Xi song、the introduction leaded by the emperor firstly and the literary trend pursuing improvement that have promoted the formation and development of Yan Qing poem in Southern dynasties.
综合研究,我们可以得出初步结论:吴声西曲的声色艳情影响、帝王率先垂范的导向与逐新求变的文艺思潮,推动了南朝艳情诗的形成与发展。
5) feelings expressed by voice
声情
1.
Through analyzing the concept s failure in expressing meaning sufficiently, Chinese classic poetics posts that feelings expressed by voice and feelings expressed by image can not be expressed by concept, and as the mode in expressing meaning in poetry, the voice and the image are as important as the concept.
从“言不尽意”出发、从“所以道”入手 ,汉语古典诗学揭示 ,“声情”、“意象”所道之“意”为“辞情”所不能道 ,“声情”、“意象”乃是堪与“辞情”并列的“意”之“所以道”的两种独特方式 ;从“意无穷”出发 ,从对“神韵”的分析来看 ,汉语古典诗学揭示 ,“象外之象”、“声外之音”所道之“意”乃是超越性的无穷之意 ,此无穷之“意”为普通语言形式所不能道 ;而对诗歌语言活动中“主体性”与“超主体性”高度统一的强调 ,充分体现了汉语古典诗学形式理论诠释学视界的深刻性与独到性——这一点可以构成我们与西方现代诠释学对话的切入点。
6) sound and emotion
声情
1.
From this, he clearly put forward "having both sound and emotion"and expounded the standard of "pleasing to the ear and coordinating to the he.
由此标举“声情” ,并围绕“穆耳协心”这一准则加以论
2.
The idea of "sound and emotion" is the logical extension of his proposition that "poems letting out emotions" .
王夫之作为我国古代诗学的一位杰出总结者，充分注意到诗与乐的同一性，极为重视对诗歌音乐美特征及规律的研究，他是中国古代第一个用“声情”这一概念论诗评诗的诗学理论家，“声情”论是他的“诗道性情”命题的合乎逻辑的延伸，在他看来，“声情美”即诗歌艺术的“穆耳协心”，亦即在“动听”的同时又道“性情”（包括诗人和欣赏者双方的性情）。
补充资料：忍辱仙人 声色
【诗文】：
豪气冲天居列鼎。笙歌聒地排＊境。玉镫飞龙衫帽整。风流骋。不知扑入琉璃井。滑壁千寻光似镜。交加出路无门径。饶你玲珑机巧性。难逃命。与他送却头皮影。
【注释】：
【出处】：
豪气冲天居列鼎。笙歌聒地排＊境。玉镫飞龙衫帽整。风流骋。不知扑入琉璃井。滑壁千寻光似镜。交加出路无门径。饶你玲珑机巧性。难逃命。与他送却头皮影。
【注释】：
【出处】：
说明：补充资料仅用于学习参考，请勿用于其它任何用途。
参考词条