【摘要】：楊慎身處明中期的復(fù)古詩(shī)學(xué)浪潮中。較楊慎時(shí)代稍前的李東陽(yáng)、前七子均倡言復(fù)古,以《詩(shī)經(jīng)》為經(jīng)典,通過(guò)對(duì)風(fēng)雅傳統(tǒng)的提倡,來(lái)洗清明前中期縈繞詩(shī)壇的臺(tái)閣之弊與理學(xué)之風(fēng)。但由于《詩(shī)經(jīng)》時(shí)代悠遠(yuǎn)、難以追摹,只有另?yè)褚环N能夠承接它的作品作為典范,并以此上溯《詩(shī)經(jīng)》,才能達(dá)成復(fù)古目標(biāo)。為此,李東陽(yáng)立足于詩(shī)學(xué)辨體的理論,明確提出在區(qū)分古近體的基礎(chǔ)上,以漢魏、盛唐詩(shī)分別作為古體、近體的典范,其余時(shí)代詩(shī)歌雖然也有佳作,但評(píng)價(jià)它們?nèi)砸詽h魏盛唐詩(shī)為標(biāo)準(zhǔn)進(jìn)行。前七子基本延續(xù)了李東陽(yáng)的思路,只是對(duì)詩(shī)歌時(shí)代的限定更加嚴(yán)格,不但提出古體宗漢魏、近體宗盛唐的宗旨,更認(rèn)為六朝初唐及中唐以下詩(shī)均不足取。楊慎身為李東陽(yáng)的門(mén)生,同前七子亦有交往,與他們一道列于復(fù)古陣營(yíng)當(dāng)中,但在以漢魏盛唐為宗尚的復(fù)古時(shí)風(fēng)下,楊慎卻變而提倡六朝初唐,成為了復(fù)古派內(nèi)部的轉(zhuǎn)捩點(diǎn),也由此開(kāi)創(chuàng)了六朝派,并對(duì)復(fù)古派后續(xù)詩(shī)學(xué)理論的轉(zhuǎn)變產(chǎn)生了重要的影響。本文以楊慎為主要研究點(diǎn)、以復(fù)古派的歷時(shí)發(fā)展為主軸,立足于李東陽(yáng)、前七子、楊慎、六朝派、后七子等重要人物,探索復(fù)古一脈詩(shī)學(xué)思想的變化,在勾勒派系發(fā)展脈絡(luò)的同時(shí),著重分析楊慎對(duì)其他復(fù)古派詩(shī)人理論的繼承拓展與批評(píng)改造,分析楊慎在復(fù)古派當(dāng)中的地位以及對(duì)復(fù)古詩(shī)學(xué)的轉(zhuǎn)變產(chǎn)生了怎樣的影響。本文的研究方法主要有兩個(gè):其一是文學(xué)、文學(xué)理論與文學(xué)史研究相結(jié)合的方法,在關(guān)注研究對(duì)象楊慎本身的同時(shí),將其詩(shī)學(xué)理論落實(shí)到詩(shī)歌史的背景與楊慎自身的詩(shī)歌創(chuàng)作中去,著眼明代詩(shī)學(xué)流派、文學(xué)思潮的變遷,發(fā)掘楊慎在復(fù)古派乃至明代詩(shī)學(xué)歷史中獨(dú)特價(jià)值與地位;其二是比較研究的方法,通過(guò)探究楊慎詩(shī)論與李東陽(yáng)、前七子、六朝派等詩(shī)論的聯(lián)系、與明代中后期詩(shī)人詩(shī)派的對(duì)照與比較,勾勒明代自弘治、正德、嘉靖以來(lái)的復(fù)古詩(shī)學(xué)大致發(fā)展脈絡(luò),揭示楊慎詩(shī)學(xué)在復(fù)古大潮中的獨(dú)特性,分析楊慎詩(shī)論的對(duì)前人的繼承、對(duì)同一時(shí)期詩(shī)學(xué)的開(kāi)拓以及對(duì)后世的影響。本文主要分為六個(gè)部分。緒論部分論述楊慎研究的現(xiàn)狀,認(rèn)為目前楊慎相關(guān)研究雖然取得了較大的成果,但其詩(shī)學(xué)研究一直處于較為孤立的狀態(tài),沒(méi)有被置入到明代復(fù)古詩(shī)學(xué)的宏觀背景之下,既缺乏楊慎與其同時(shí)代詩(shī)人詩(shī)學(xué)的橫向比較,也少有楊慎同前后期詩(shī)人詩(shī)學(xué)淵源傳承的探索。同時(shí)明確了本文的寫(xiě)作目的就在于發(fā)掘楊慎在明代詩(shī)學(xué)歷史中的獨(dú)特價(jià)值,分析楊慎詩(shī)論對(duì)復(fù)古詩(shī)論前后期的轉(zhuǎn)變產(chǎn)生了怎樣的影響。第一章論述楊慎的生平經(jīng)歷與詩(shī)學(xué)主張。楊慎認(rèn)為詩(shī)歌創(chuàng)作中,抒寫(xiě)情性是根本要旨,積學(xué)博觀是必要條件;創(chuàng)作主體情思與學(xué)識(shí)的差異,造就了詩(shī)歌的多樣性。而不同時(shí)代、不同詩(shī)人所作之詩(shī),從反映性情的角度上說(shuō),均有其存在的合理性,所謂"人人有詩(shī),代代有詩(shī)",故而楊慎在漢魏古詩(shī)與盛唐律詩(shī)之外,也推崇六朝初唐與宋代詩(shī)歌,認(rèn)為它們同樣是不同時(shí)代下詩(shī)人心聲的流露。在詩(shī)歌風(fēng)格方面,楊慎偏好于綺麗、含蓄蘊(yùn)藉、自然、新奇的作品,對(duì)六朝詩(shī)人庾信以及盛唐詩(shī)人李白、杜甫均有推崇。第二章論述楊慎對(duì)李東陽(yáng)詩(shī)學(xué)的繼承與改造。李東陽(yáng)以辨體論詩(shī),嚴(yán)辨詩(shī)與文、古與律之界,一方面認(rèn)為詩(shī)文不同體,詩(shī)歌以言情為主要特征,一方面認(rèn)為古詩(shī)與律詩(shī)體制不同,古詩(shī)格高而律詩(shī)格卑,古詩(shī)尤其不可沾染近體體式。李東陽(yáng)以情作為詩(shī)之根本,對(duì)詩(shī)歌的音樂(lè)性多予論述,將詩(shī)之音韻節(jié)奏與情性相聯(lián)系,提出要從音樂(lè)與情感的關(guān)系方面領(lǐng)會(huì)詩(shī)歌的音響特征、時(shí)代格調(diào)。在這些理論的基礎(chǔ)上,李東陽(yáng)將漢魏詩(shī)確立為古體的經(jīng)典,將盛唐詩(shī)確立為近體的典范。楊慎作為李東陽(yáng)的學(xué)生,詩(shī)學(xué)繼承李東陽(yáng)"詩(shī)別是一教"的辨體意識(shí),同樣注重情性之于詩(shī)歌的重要性,在情的基礎(chǔ)上探討理想詩(shī)歌的審美典范,通過(guò)對(duì)唐宋詩(shī)的對(duì)比,得出唐詩(shī)主情的結(jié)論;但同時(shí),楊慎更從各個(gè)朝代詩(shī)歌均是那個(gè)時(shí)代詩(shī)人真情的體現(xiàn)、六朝詩(shī)是盛唐律詩(shī)之起源兩個(gè)角度立論,提出要尊唐而不可卑六代,打破李東陽(yáng)近體獨(dú)尊盛唐的提法。第三章闡述楊慎與前七子詩(shī)學(xué)的異同。詩(shī)歌本質(zhì)方面,楊慎與前七子具有共同的主情傾向,都以為情乃詩(shī)歌創(chuàng)作的動(dòng)因、是詩(shī)歌的本質(zhì)特征、是詩(shī)歌創(chuàng)作的要求;復(fù)古論上,前七子以"古體學(xué)漢魏,近體宗盛唐"為旗幟,楊慎則針對(duì)前七子近體因模擬對(duì)象單一而造成剽竊模擬的弊病,提出盛唐之外還應(yīng)宗法六朝初唐,楊慎這一主張影響了何景明,使得他的創(chuàng)作逐漸帶有六朝傾向;詩(shī)歌風(fēng)格上,前七子大都推崇杜甫為代表的盛唐格調(diào),楊慎則偏好庾信為代表的含蓄老成的詩(shī)風(fēng);學(xué)古目標(biāo)上,楊慎與前七子均肯定要"擬議以成變化",但具體路徑上,李夢(mèng)陽(yáng)強(qiáng)調(diào)要由尺寸模擬而自然至于變化,何景明強(qiáng)調(diào)學(xué)詩(shī)須領(lǐng)會(huì)神情、不仿形跡,楊慎則強(qiáng)調(diào)作詩(shī)以博學(xué)為基礎(chǔ)、融匯創(chuàng)作主體情思風(fēng)格以成變化。同為李夢(mèng)陽(yáng)詩(shī)學(xué)的反撥,何、楊二人的觀點(diǎn)有較多相似的地方。第四章闡述楊慎對(duì)六朝派以及嘉靖后續(xù)復(fù)古思潮的影響。楊慎作為六朝派核心人物,不僅建構(gòu)起六朝派詩(shī)論體系,還在詩(shī)學(xué)、創(chuàng)作等方面,對(duì)薛蕙、楊門(mén)六學(xué)士、朱曰藩等人產(chǎn)生了直接的影響。而作為嘉靖前期詩(shī)學(xué)關(guān)鍵的一環(huán),楊慎"六朝為唐律之源"的觀點(diǎn)與對(duì)杜甫"詩(shī)史"的評(píng)價(jià),也引起了廣泛的討論,影響了嘉靖后續(xù)的復(fù)古詩(shī)學(xué)發(fā)展。結(jié)語(yǔ)部分回顧楊慎在明中期復(fù)古詩(shī)學(xué)中的貢獻(xiàn),予以他應(yīng)有的評(píng)價(jià)。
[Abstract]:In the middle of the Ming Dynasty, Yang Shen was in the wave of revival poetics in the middle of the Ming Dynasty. Li Dongyang and the first seven sons of Yang Shen, earlier than the Yang Shen era, advocated the restoration of ancient times, and the classic of "Book of Songs >", by advocating the tradition of elegance, to wash the fraud and science of the Taiwan Pavilion, which haunted the poets in the middle of the Qing Dynasty. But because of the long distance from the era of "Book of Songs >", it was difficult to copy it, and only another alternative could undertake it. As a model, the works can be traced back to the "Book of Songs >" to achieve the goal of restoring ancient times. For this reason, Li Dongyang, based on the theory of poetics, made clear that the poems of the Han and Wei dynasties and the poetry of the Tang Dynasty were exemplary in the Han Wei Dynasty and the poetry of the Tang Dynasty, while the poems of the rest of the times were also good, but they still had to be marked by the poetry of the Han and Wei Sheng Tang poems. The first seven sons basically continued the thought of Li Dongyang, only to be more strict with the time of poetry, not only to put forward the ancient Chinese and Han Wei, the tenet of the Tang Dynasty in the near body, but also to think that the poems of the Six Dynasties in the early Tang Dynasty and the middle Tang Dynasty were all insufficient. But under the wind of the ancient Han Dynasty and the Tang Dynasty, Yang Shen changed to the beginning of the Six Dynasties and became the turning point of the regu school, which created the Six Dynasties, and had an important influence on the transformation of the follow-up poetics theory of the regu school. This article took Yang Shen as the main research point, taking the diachronic development of the Fugu school as the main axis and based on Li. Dongyang, the first seven sons, Yang Shen, the Six Dynasties and the latter seven, explored the changes in the thought of the regu pulse poetics, and at the same time outlined the development vein of the factions, emphatically analyzed Yang Shen's inheritance and criticism of the theories of the other regu School Poets, analyzed Yang Shen's position in the regu school and the transformation of the regu poetry. There are two main methods in this study: one is the combination of literature, literary theory and the study of literary history. At the same time, while paying attention to the research object Yang Shen itself, he put his poetic theory into the background of the history of poetry and Yang Shen's own poetic creation, focusing on the school of poetry in the Ming Dynasty, the changes of the literary trend of thought, and excavating Yang Shen in the literature. The unique value and status of the regu school and the poetics history of the Ming Dynasty; the second is the method of comparative study. By exploring the relationship between Yang Shen's poetry and Li Dongyang, the first seven sons and the Six Dynasties, compared with the poets' school in the middle and late Ming Dynasty, it outlines the general development of the reign poetry of the Ming Dynasty from Hong Zhi, Zheng de and Jiajing. The uniqueness of the prudent poetics in the tide of restoring ancient times, analyses the inheritance of Yang Shen's Poetics to the predecessors, the development of the Poetics of the same period and the influence on the later generations. This article is mainly divided into six parts. The introduction part discusses the present situation of Yang Shen's research, and holds that although Yang Shen's related research has achieved great achievements, his poetic research has been in the field. The relatively isolated state, which has not been placed in the macro background of the poetry of the Ming Dynasty, is not only short of the horizontal comparison between Yang Shen and his poets in his contemporaries, but also on the exploration of the inheritance of the poetic origin of the poet Yang Shen in the same period. At the same time, it is clear that the purpose of this article is to explore the unique value of Yang Shen in the poetic history of the Ming Dynasty. Yang Shen's poetry theory has an influence on the transformation of the former and later period of the theory of complex poetry. Chapter 1 discusses Yang Shen's life experience and poetics. Yang Shen believes that in the creation of poetry, the expression of love is the fundamental tenor, and the accumulation of knowledge is the necessary condition; the difference between the love and knowledge of the creative subject makes the diversity of poetry. The poems made by people, from the angle of reflection, all have their rationality, so called "everyone has poetry and generation of poetry", so Yang Shen also praised the ancient poems of the Han and Wei dynasties and the poetry of the Tang Dynasty, and also praised the poems of the Six Dynasties and the Song Dynasty. They thought that they were also the voice of the poets in different times. In the poetic style, Yang Shen preferred the gorgeous, In the second chapters, the second chapters discuss Yang Shen's inheritance and transformation of Li Dongyang's poetics. Li Dongyang, on the one hand, thinks that poetry and prose are not androgynous, and poetry is the main feature, and on the one hand, the ancient poetry is considered. Different from the system of poetry, the ancient poetry is high and the rhythm of the poem is inferior, and the ancient poetry can not be contaminated with the near body style. Li Dongyang takes love as the root of poetry, discusses the music of poetry more, connects the rhythm of the poetry and the emotion, and puts forward that the sound characteristics of poetry and the tone of the times should be understood from the relation of music and emotion. On the basis of this, Li Dongyang established the poetry of Han and Wei as the classic of ancient style, and established the poetry of Sheng Tang as a model of the near body. As a student of Li Dongyang, Yang Shen has inherited Li Dongyang's "poetry is a teaching", and also pays attention to the importance of love to poetry. On the basis of emotion, it discusses the aesthetic model of the ideal poetry, and through the contrast of Tang and Song poems, The conclusion of the main feelings of the Tang poetry is drawn, but at the same time, Yang Shen's poetry is the embodiment of the true feelings of the poets of the times. The Six Dynasties Poetry is the two angles of the origin of the poetry of the Tang Dynasty, and it is proposed to respect the Tang and not be inferior to the six generation. The third chapter describes the similarities and differences between Yang Shen and the former seven poetics. On the other hand, Yang Shen and the first seven sons have common tendencies. They all think that love is the motive of poetry creation, is the essential feature of poetry and the requirement of poetry creation; in the theory of retro, the first seven sons are the banner of "the ancient Chinese and the Han Wei, the near sect Sheng Tang" as the banner, and Yang Shen puts forward the maladies of plagiarism for the former seven near body because of the single simulation object. In addition to the Tang Dynasty in the early Tang Dynasty of the Six Dynasties of the Tang Dynasty, Yang Shen influenced He Jingming and made his creation gradually with the tendency of Six Dynasties; in poetic style, the first seven sons most praised the Tang style represented by Du Fu, and Yang Shen preferred Yu Xin's style of poetry as the representative of his reserved and old poetry. In the study of the ancient goals, Yang Shen and the former seven sons must be "proposed to change into a change." On the specific path, but on the specific path, Li Mengyang stressed that the size simulation and natural change should be emphasized. He Jingming stressed that the study of poetry must comprehend the spirit and not imitate the shape. Yang Shen emphasized that poetry was based on the learning as the basis, and the poetic style of the creative subject was changed. There were more similarities between Li Mengyang's Poetics and the fourth chapters of Yang's views. The influence of Yang Shen on the Six Dynasties and the subsequent reunification of Jiajing. As a core figure of the Six Dynasties, Yang Shen not only constructs the poetic system of the Six Dynasties, but also has a direct influence on Xue Hui, the six Bachelor of Yang and Zhu Yuefan and others in poetry and creation. As a key part of the early Jiajing poetics, Yang Shen "the Six Dynasties as the Tang law." The view of "source" and the evaluation of the history of Du Fu's poetry have also aroused extensive discussion and influenced the development of regu poetry in the follow-up of Jiajing. The concluding part reviews the contribution of Yang Shen to the restoration of ancient poetry in the middle of the Ming Dynasty, and gives his due evaluation.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：I207.22

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本文編號(hào)：2165351