云梦学刊

以往学者多从政治、道德的角度阐释屈原自恋的性质和意义，但屈原的自恋至少在表象上看明显是审美之恋。屈原所爱恋的对象首先是他自身的内在美与外在美，具有审美性、内指性、偏执性、狂狷性、排他性，是充分个性化的爱恋行为。屈原把他个人的美树立为人世众生的审美范式，并将人世划分为美丑两个对立的层面。屈原用楚地美的植物、巫教、神话和历史意象作为主要材料，构建其自恋美的具象形式，这在屈赋中俯拾即是。尤其是在楚地节日盛景的描摹中，自恋生成的美的赋象衍变为屈原爱恋故乡、故国的情感符号，最终成为他个人的乡愁。对于赋文学而言，屈原的审美自恋无疑是其文学性得以生长的本源，具有极高的美学价值。

In the past, scholars mostly interpreted the nature and meaning of Qu Yuan's narcissism from political and moral perspectives, but Qu Yuan's narcissism is an aesthetic love, at least on the surface. What Qu Yuan's love is, first of all, his own inner and outer beauty, which is aesthetic, internal, paranoid, impetuous and exclusive, and is a fully personalized act of love. Qu Yuan set up his beauty as an aesthetic paradigm for all beings in the world, and divided the world into two opposing levels of beauty and ugliness. Qu Yuan used the beauty of plants, witchcraft, myths, and historical imagery in the Chu region as the main materials to construct the figurative forms of his narcissistic beauty, which can be found everywhere in the Qufu. Especially in the description of the festival scenes in Chu, the fu image of beauty generated by narcissism is transformed into the emotional symbol of Qu Yuan's love for his hometown and his homeland, which eventually becomes his nostalgia. For the literature of fu, Qu Yuan's aesthetic narcissism is undoubtedly the source of its literary growth, and it has a very high aesthetic value.