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诗经演
“三百篇中的男和女，我个个都爱……”木心说《诗经》，“诗三百，一言蔽，会吾中。”
木心诗集《诗经演》，本名《会吾中》，木心晚年亲自编订，依据《诗经》创造性地注入现代内容，每首14行，整整300首。内篇收入《同袍》《执手》《关关》《桃之》《无寄》《三星》《乌镇》《鱼丽》《蒹葭》《子衿》《十亩》等263首，外篇收入《吾闻》《沧浪》《观水》《挟山》《天下》《混沌》《其苏》等37首，文字是古典的，观念是现代的，赏玩修辞之美，俨然一场纵意迷失于汉字字义、字型、字音的纷繁演义。
中国的传统典籍，木心说，“四书中，我最喜欢《论语》，五经中，最喜欢《诗经》。”中国的“人”和中国的“自然”，木心认为，从《诗经》起，历楚汉辞赋唐宋诗词，表现着平等参透的关系，乐其乐，忧其忧。
一个汉字就是一部文化史，一个汉字就是一把锁。木心是“作家里的作家”，木心诗集《诗经演》是一部匪夷所思的“木心版《诗经》”。天书是需要“解锁密码”的，今《诗经演》每一首今都配有古典文学专家的注解——相隔三千年，以近乎文字考古学的能量，《诗经演》为现代汉语实施了一场尚待深究的实验。
木心诗集《诗经演》，本名《会吾中》，木心晚年亲自编订，依据《诗经》创造性地注入现代内容，每首14行，整整300首。内篇收入《同袍》《执手》《关关》《桃之》《无寄》《三星》《乌镇》《鱼丽》《蒹葭》《子衿》《十亩》等263首，外篇收入《吾闻》《沧浪》《观水》《挟山》《天下》《混沌》《其苏》等37首，文字是古典的，观念是现代的，赏玩修辞之美，俨然一场纵意迷失于汉字字义、字型、字音的纷繁演义。
中国的传统典籍，木心说，“四书中，我最喜欢《论语》，五经中，最喜欢《诗经》。”中国的“人”和中国的“自然”，木心认为，从《诗经》起，历楚汉辞赋唐宋诗词，表现着平等参透的关系，乐其乐，忧其忧。
一个汉字就是一部文化史，一个汉字就是一把锁。木心是“作家里的作家”，木心诗集《诗经演》是一部匪夷所思的“木心版《诗经》”。天书是需要“解锁密码”的，今《诗经演》每一首今都配有古典文学专家的注解——相隔三千年，以近乎文字考古学的能量，《诗经演》为现代汉语实施了一场尚待深究的实验。
693 pages, Kindle Edition
First published April 1, 2009
7 people want to read
About the author
Mu Xin
33 books25 followersMu Xin (1927-2011) was the pen name of a renowned Chinese diasporan writer and artist who once lived in the New York area. Mu Xin was born in Wuzhen, South China, into a wealthy aristocratic family with business interests in Shanghai. He was among the last generation to receive a classical education in the literati tradition, but he was also exposed through voluminous reading to the highest achievements of Western art and culture.
From 1947 to 1949, Mu Xin attended Shanghai Institute of the Arts. From 1949 until 1982, when he came to the United States, MuXin lived in China. Although he wrote profusely in that period, all of his earlier manuscripts were confiscated and destroyed during the Cultural Revolution. Since 1982, MuXin published twelve books of fiction, prose, and poetry (in Chinese) and contributed to literary columns in Chinese journals and newspapers outside the PRC. Among the Chinese diaspora, MuXin’s works have attracted an intense following.
Few Chinese writers in modern history have as firm a mastery of the Chinese cultural and linguistic heritage as MuXin did. Innovatively combining fiction, sanwen (a Chinese genre which blends characteristics of the essay, fiction, and poetry), and philosophical reflections, MuXin’s writing is both profoundly Chinese and reminiscent of the internalization and unconventionality of Western modern masters. In addition to his literary accomplishments, MuXin was also a well recognized artist whose paintings are preserved, among other places, at Yale University and Harvard University Art Galleries.
From 1947 to 1949, Mu Xin attended Shanghai Institute of the Arts. From 1949 until 1982, when he came to the United States, MuXin lived in China. Although he wrote profusely in that period, all of his earlier manuscripts were confiscated and destroyed during the Cultural Revolution. Since 1982, MuXin published twelve books of fiction, prose, and poetry (in Chinese) and contributed to literary columns in Chinese journals and newspapers outside the PRC. Among the Chinese diaspora, MuXin’s works have attracted an intense following.
Few Chinese writers in modern history have as firm a mastery of the Chinese cultural and linguistic heritage as MuXin did. Innovatively combining fiction, sanwen (a Chinese genre which blends characteristics of the essay, fiction, and poetry), and philosophical reflections, MuXin’s writing is both profoundly Chinese and reminiscent of the internalization and unconventionality of Western modern masters. In addition to his literary accomplishments, MuXin was also a well recognized artist whose paintings are preserved, among other places, at Yale University and Harvard University Art Galleries.
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