本文關鍵詞：袁枚與張問陶詩論比較研究　出處：《四川師范大學》2017年碩士論文　論文類型：學位論文

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【摘要】：本文是對清代性靈派集大成者袁枚及后期殿軍張問陶詩論的比較研究。本文從詩論比較這一特定角度出發(fā),旨在比較袁、張二人論詩的異同及表現(xiàn),而不求巨細無遺的羅列袁、張詩論的種種觀點,也不會如某些傳統(tǒng)研究那樣過度著眼于個別概念、術語的分析。作為性靈派詩論的集大成者,袁枚在詩歌創(chuàng)作、語言、風格等方面都突破了當時乾嘉詩壇的藩籬。作為性靈派后期代表,張問陶博觀約取,既吸收了袁枚詩論中的精髓,又有自己的獨到見解而自成一家。本文由“詩歌本質論比較”、“詩歌創(chuàng)作論比較”、“詩歌風格論比較”、“詩歌批評鑒賞論比較”、“袁、張詩論異同原因”五部分組成。第一章主要比較袁、張對詩歌本質的異同看法。作為性靈派的代表,追求詩歌的生命律動成為詩人的首要標準,故袁、張都將生命的感動,即“真情”看做詩歌的本質。但作為一個經(jīng)歷宦海沉浮、游歷大千世界的詩人張問陶來說,他從生活閱歷出發(fā),重情之真的同時,兼重情之善、美。第二章從詩歌創(chuàng)作論比較袁、張的異同。對于詩歌創(chuàng)作,袁、張主要的相同之處在于都辯證的看待創(chuàng)作中天分與學力、仿古與著我的關系,他們都注重創(chuàng)作者對于詩歌的敏銳力及掌控力,同時又注重后天不斷地積累。對于“古”與“我”的關系,他們都既強調要汲取古人的智慧,又重視個人創(chuàng)新在詩歌中的顯現(xiàn)。除此之外,他們還強調詩歌創(chuàng)作中的靈感問題,對于語言表現(xiàn),則都傾向于使用平淡之語,但要提煉、潤色,達到“豐神”的效果。詩歌創(chuàng)作表現(xiàn)的情感要有力度,要有感發(fā)人心的力量,必須要有某種物質充盈期間,對于這種物質,袁枚認為這種物質是“才”,張問陶則認為這種物質是“氣”,這就是他們對于詩歌創(chuàng)作主張的不同之處。第三章主要從詩歌風格方面來比較袁、張二人的異同。戒偏意識是袁張二人都竭力主張的。除此,他們的主體風格又呈現(xiàn)出不同的面貌,袁枚主要是靈動活脫,張問陶則是沉郁空靈。第四章闡述袁、張在詩歌批評鑒賞上的異同。對于詩歌鑒賞,袁、張都主張以“味”論詩,但對于詩品與人品的關系,袁枚認為“《國風》之好,究與人品無干”。張問陶《詩草》中有大量的評論詩人其人及詩的詩,這些詩都兼重詩品與人品的關系。在對杜甫詩歌的評價中,袁枚表現(xiàn)出明確的褒貶態(tài)度,他既主張學習杜甫“多師是吾詩”的創(chuàng)作態(tài)度,又批判杜詩“習氣太重”,以及杜詩太講究格律而有“木”的特征。與袁枚相反,縱觀整部《詩草》,張問陶不僅有些詩句是直接化用杜甫詩句而來,更有二十多首詩或談論其人或評論其詩,在藝術表現(xiàn)手法、詩歌內(nèi)容題材及創(chuàng)作主張上都暗合對杜詩的認同,這也是張問陶詩歌風格偏向沉郁空靈的原因之一。第五章主要從詩壇格局、人生經(jīng)歷,以及地域環(huán)境等方面來闡述袁、張詩論異同的原因。
[Abstract]:This paper is a comparative study of the poetry theory of Yuan Mei and Zhang Wentao of the Qing Dynasty. The purpose of this paper is to compare the similarities and differences of Yuan and Zhang's poems from the perspective of poetic comparison. However, the views of Yuan and Zhang, who do not seek to be large and detailed, will not focus too much on the analysis of individual concepts and terms as some traditional studies have done. As the epitome of the poetic theory of the Ghost School, Yuan Mei is in the creation of poetry. The language, style and other aspects of the Qianjia poetry broke through the fence. As a later representative of the spirit school, Zhang asked Tao Boguan, both absorbed the essence of Yuan Mei's poetic theory. This article is composed of "comparison of poetic essence", "comparison of poetic creation", "comparison of poetic style", "comparison of poetic criticism and appreciation", "Yuan". The first chapter mainly compares Yuan, Zhang's views on the essence of poetry. As the representative of the spiritual school, pursuing the life rhythm of poetry becomes the primary standard of the poet. Zhang du regards the moving of life, that is, "true feelings" as the essence of poetry. But as a poet who experienced the ups and downs of the official sea and traveled around the world, Zhang Wentao, a poet, set out from his life experience and paid more attention to love at the same time. The second chapter compares the similarities and differences of Yuan and Zhang from the theory of poetry creation. For poetry creation, Yuan and Zhang have the main similarities and differences in the dialectical view of the relationship between talent and learning in creation, imitation of the ancient times and my works. They all pay attention to the acumen and control of poetry by creators, and at the same time they also pay attention to the accumulation of the day after tomorrow. For the relationship between "ancient" and "I", they both emphasize the wisdom of the ancients. In addition, they also emphasize the inspiration in poetry creation. For language performance, they tend to use plain language, but to refine, touch. In order to achieve the effect of "abundant spirit", the emotion of poetry creation should be strong, the force of feeling and inspiring must exist, and there must be some material filling period. For this material, Yuan Mei thinks this material is "talent". Zhang Wentao thinks this kind of material is "Qi", which is the difference of their opinions on poetry creation. The third chapter mainly compares Yuan from the aspect of poetic style. Zhang Erren's similarities and differences. The consciousness of abstinence was advocated by both Yuan and Zhang. In addition to this, their main style showed different features, Yuan Mei was mainly intelligent and active, Zhang Wentao was depressed and empty. Chapter 4th elaborated Yuan. For the appreciation of poetry, Yuan and Zhang both advocate "taste" for poetry, but for the relationship between poetic quality and personality, Yuan Mei thinks that "the style of the country" is good. There are a large number of comments on poets and poems, which both emphasize the relationship between poetry and character. In the evaluation of du Fu's poems, Yuan Mei shows a clear attitude of praise and disparagement. He not only advocates to study du Fu's creative attitude of "more teachers are my poems", but also criticizes du's poems as "too heavy in habit", as well as "wood" characteristics in du's poems. In contrast to Yuan Mei, he takes a general view of the whole poem grass. Zhang Wentao not only uses du Fu's poems directly, but also has more than 20 poems or talks about them or comments on them. He agrees with du's poems in artistic expression, poetry content and creative ideas. This is one of the reasons why Zhang Wentao's poetic style tends to be gloomy and empty. Chapter 5th mainly explains the similarities and differences between Yuan and Zhang's poetry from the aspects of poetic structure, life experience, and regional environment.
【學位授予單位】：四川師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：I207.22

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