木斋所著《古诗十九首与建安诗歌研究》提出十九首可能产生的时间为建安时期,主要的作者则为曹植,观点新奇,论证严谨。美国学者宇文所安的新著《中国早期古典诗歌的生成》从迥然不同的角度,得出与木斋相近的结论。这两部著作从东西方不同的知识背景、文化视野下观照古诗十九首,为古诗十九首的研究提供新了的视角和方法。

The Research on The Nineteen Old Poems and Jian’ an Poetry made by MU Zhai argues that:The Nineteen Old Poems are probably created by Cao Zhi in Jian’ an Period.This study is from a novel perspective, and provides a rigorous agreement.American scholar Stephen Owen, in his new book The Making of Early Chinese Classical Poetry , discussed it from a different perspective and came to a similar conclusion with Mu Zhai.These two works treated The Nineteen Old Poems from different language back-ground and cultural horizons between the East and the West.This provides a new way to study The Nine-teen Old Poems.

《古诗十九首》写出了文人对于生命的普遍感受,表现出强烈的忧生之嗟,其生命意识的萌发是汉末社会现实状况和文人生存境况外化的结果。这种生命意识具体表现为因理想失落而致的对原有生命价值范式和意义模式的质疑与否定;对生命本体意义的深切体悟与追寻;哀叹生命的短促,以"向死而生"的态度直面现实。《古诗十九首》的生命意识充满了深沉的悲剧意味,具有强烈的悲剧美。

“the Nineteen Ancient Poems”wrote out the scholars′general feeling of life at the end of Han Dynasty,showing strong grief about life.And this germination of life consciousness derived from the social reality and the living existence of literati at that time.It was embodied in the following three points,namely,questioning and negation of the original paradigm of life val-ue and meaning model caused by the loss of ideals,profound comprehension and pursuit of the life ontology,and sigh of the shortness of life and facing the reality with “born to die”attitude.The life consciousness in “the Nineteen Ancient Poems”is full of deep and strong tragic beauty.

《古诗十九首》多采用通过身体的生理感受来表达内心情感的写作方式,女主人公多为倡者身份,居江南一带,游子多为活动在洛阳不得志的士人。从二者彼此的畅通联系看,作品创作时间为汉灵帝时期。此期的京城能够符合游子身份的,唯有出身寒族、凭借大量带有民间文学气息的以"辞赋"入仕的数量众多的鸿都门学士。《古诗十九首》作者推定为鸿都门学士,这可从其流传中为清流世族所否定、诋毁而导致作品与作者分离,以及战乱导致其作品遗失方面得到印证。

In The Nineteen A ncient Poems,inner feelings are expressed almost through physiological ways. Most of female characters were singing-girls living in the regions of lower reaches of the Yangtze River,and most of wanderers were those who felt depressed about their unsuccessful career in Luoyang. From the two points contacted each other,this work was created in the reign of Ling Emperor of the Han Dynasty. The wanderers in the capital were Hongdumen scholars who were born in humble families,and they had a large number of folk literature as officials in their life. Accordingly,the author of The Nineteen A ncient Poems is presumed to be one of the Hongdumen scholars,which can also be verified by other aspects.

《诗经》《楚辞》共同奠定了中国古典文学写悲抒情传统，然而汉代由于大赋兴起却逐渐淡薄。《古诗十九首》延续了《诗经》《楚辞》抒情特色，采用悲情意象和鲜明的对比，运用大量叠字，甚至以乐写悲，营造出浓重的悲怨底色。这种写悲抒情传统极大影响了建安诗歌，同时对后世文学而言又具有典范性的审美价值。

Both The Book of Songs and The Songs of Chu established the lyric tradition for sadness expression in classical Chinwe literature. However,in the Han Dynasty,the colour of it faded with the development of Hanfu. Nineteen Ancient Chinese Poetries continued the expression peculiarity of them by means of the saddest images,sharp comparison ,lots of reduplication and even used sorrowful happiness to create a dense sorrowful base color. The lyric tradition for sadness expression not only influenced the poems in Jianan period but also had the exemplary aesthetic value for the later literature.

诗歌通常被认为是高度表达作者个性与内心世界的一种艺术形式,尤其在中国古代的文学评论传统中,"知人论世"成为基本的评判准则。与之类似的,"赋诗以观志",即通过诗反观或推测作者的情感、品格与境遇,也反映了远离当时创作环境之人试图接近诗歌"初始"面貌的努力。然而,诗与人之间联系的相关度与可靠性并未得到深入的考量。在以《古诗十九首》为代表的一系列先唐古诗(包括乐府)中,一方面,为数众多的异文将使后世"一字千金"的评价显得暧昧可疑;另一方面,频繁且几乎以固定模式出现的某些套语迫使读者不得不重新思考从文本回溯到创作者或时代背景的努力能否达到。因此,"诗可以观"的古老理论面临着双重考验。

Poems are always thought by readers that they can fully express the writer’s characteristics and in-ner world.Especially in the history of Chinese classical literary criticism,“Understanding human beings and re-flecting on society”is an important category.Also,“Finding poet’s mind through the poems”became a way by which those who live in the era far away from writers tried to approach the original circumstances.However,the connections between the writers and the texts have never been considered carefully.The Nineteen Ancient Poems and other pre-Tang Dynasty poems have so many variants and formulae that researchers are forced to reconsider the ancient theory of poems---“poetry can be watched”.