Abstract
1930年代以降，《老殘遊記》第二章大明湖風景和明湖居聽書、第十二章黃河打冰和遠山雪月交輝等四個段落，已經被選入中學的國文教本裏。和《老殘遊記》的寫景手法相近、而又一直被譽為現代風景描寫文典範的《荷塘月色》，實際是繼承了《老殘遊記》的傳統，更進一步奠定了現代風景描寫文的基礎。胡適認為劉鶚《老殘遊記》的寫景技巧是前無來者，而現代文學史家一般認為朱自清的寫景散文成就很高。本文試圖探討這兩個評價所代表的意義，並從取景的特徵上指出現代描寫文和以《永州八記》為代表的傳統遊記的分別。
Two chapters of the Liu E's classical work of travel fiction "The travel notes of Lao Chan" have been used in secondary school Chinese language teaching textbooks since the 1930s. Hu Shi, a celebrated scholar, remarked that Liu E's work in scenic description is innovative and unique. Zhu Ziqing's essay "Moonlight on the lotus pond" is regarded by modern literary scholars as a cornerstone of scenic description in modern writing. This article aims to investigate the underlying significance of these two remarks, and highlights the differences between modern and classical scenic descriptive writings. Copyright © 2003 香港教育學院.
Two chapters of the Liu E's classical work of travel fiction "The travel notes of Lao Chan" have been used in secondary school Chinese language teaching textbooks since the 1930s. Hu Shi, a celebrated scholar, remarked that Liu E's work in scenic description is innovative and unique. Zhu Ziqing's essay "Moonlight on the lotus pond" is regarded by modern literary scholars as a cornerstone of scenic description in modern writing. This article aims to investigate the underlying significance of these two remarks, and highlights the differences between modern and classical scenic descriptive writings. Copyright © 2003 香港教育學院.
| Original language | Chinese (Traditional) |
|---|---|
| Pages (from-to) | 47-62 |
| Journal | 亞太語文教育學報 |
| Volume | 5 |
| Issue number | 2 |
| Publication status | Published - Jun 2003 |