本文關(guān)鍵詞：元代詩(shī)格研究　出處：《湖北民族學(xué)院》2017年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 作家 聲律 詩(shī)體 風(fēng)格 詩(shī)境

【摘要】：中國(guó)文論史上所謂詩(shī)格,是針對(duì)詩(shī)歌藝術(shù)形式的批評(píng)理論。初唐以后才開(kāi)始作為某一類著述的專有名詞。而筆者認(rèn)為元代被文論界稱為“詩(shī)格的復(fù)興”,不僅表現(xiàn)為大量詩(shī)格類著作的問(wèn)世,更表現(xiàn)為對(duì)詩(shī)格的研究深度。元代詩(shī)格較之唐宋雖少獨(dú)創(chuàng),但卻在繼承前人撰述成果的基礎(chǔ)之上,呈現(xiàn)出系統(tǒng)性和細(xì)密化的特征。本文對(duì)元代詩(shī)格的研究共分為作家、聲律、詩(shī)體、風(fēng)格、詩(shī)境五個(gè)專題,以點(diǎn)帶面探究元代詩(shī)格如何實(shí)現(xiàn)言—意—境三層語(yǔ)言機(jī)制的轉(zhuǎn)化,實(shí)現(xiàn)從詩(shī)之“技”到詩(shī)之“道”的飛躍,以期完成對(duì)元代詩(shī)格整體理論框架的梳理。同時(shí)對(duì)元代詩(shī)格理論背后的文化動(dòng)因進(jìn)行理性分析,實(shí)現(xiàn)文論與文化的雙向闡釋,更好地了解元代詩(shī)論家著述詩(shī)格的審美取向和價(jià)值動(dòng)因。第一章,元代詩(shī)格關(guān)于詩(shī)者質(zhì)素的辨析。元代詩(shī)格延續(xù)了中國(guó)古代“人品與詩(shī)品合一而論”的闡釋模式,將情性看做是詩(shī)的本原,強(qiáng)調(diào)情性的涵養(yǎng)與抒發(fā)。但在涵養(yǎng)“情性”的具體方式上又生發(fā)了分歧:一是“約情養(yǎng)性以立詩(shī)本”,要求學(xué)詩(shī)者必先做得好人才能做得好詩(shī);二是主張“情性之發(fā)應(yīng)自然而然”,要求詩(shī)者隨感而發(fā),不可執(zhí)于死法。而在明確“情性乃詩(shī)之本原”的基礎(chǔ)之上,元代詩(shī)格又主張“涵養(yǎng)未至當(dāng)益以學(xué)”,重視詩(shī)者的學(xué)識(shí)修養(yǎng)。認(rèn)為讀書不僅能改變學(xué)詩(shī)者的氣質(zhì),而且還有益于擴(kuò)充眼識(shí),掌握更多的詩(shī)歌素材和技巧,故提倡“讀書以厚詩(shī)資”,并進(jìn)一步提出“一觀”“二學(xué)”“三作”的讀書之法。第二章,元代詩(shī)格聲律論闡釋。元代文人基于元代大一統(tǒng)的政治格局,在文化上亦追求大一統(tǒng)。而既雅且正的大元?dú)庀蠛椭性幕倪h(yuǎn)被四方即是其文化大一統(tǒng)的核心內(nèi)涵。因此元代文人在著述詩(shī)格聲律論時(shí),一方面,高舉正聲雅韻的審美理想,認(rèn)為聲有“正偏”之論,韻亦有“雅俗”之分,故應(yīng)以中原聲韻為貴,忌押險(xiǎn)怪之韻,并提出“因氣求聲”和“因情求聲”等具體的調(diào)律之法以求正聲雅韻。另一方面,倡導(dǎo)聲律搭配的諧和性,并主要從兩個(gè)層面著手分析:其一,通過(guò)對(duì)“以意相合”、“以韻相和”與“以聲和體”等用律之法的具體研酌,以求得聲律與詩(shī)體、詩(shī)意的自然和諧。其二,對(duì)唐人的聲律病忌之說(shuō)進(jìn)行反思,指出“詩(shī)豈在專對(duì)偶聲病”,從而實(shí)現(xiàn)了從“專忌聲病”到“活法用之”的轉(zhuǎn)變。第三章,元代詩(shī)格詩(shī)體論探究。元代詩(shī)格對(duì)詩(shī)體論的研究遵循了從格式到意義乃至審美整體結(jié)構(gòu)的思維方式,從而實(shí)現(xiàn)了從詩(shī)之“技”到詩(shī)之“道”的升華。首先,對(duì)詩(shī)體的源委正變進(jìn)行梳理,提出“正變之說(shuō)本于《三百篇》”,故應(yīng)以立意命辭,是否近于《三百篇》為準(zhǔn),來(lái)斷其正變。其次,在詩(shī)體結(jié)構(gòu)的布置上,主張“通變”之法,強(qiáng)調(diào)“詩(shī)法之變,而不離乎正也”。第四章,元代詩(shī)格風(fēng)格論芻議。元代詩(shī)格在風(fēng)格問(wèn)題的研究上充分體現(xiàn)了文論與文化的良性互動(dòng)和雙向闡釋。元代文人以劉禹錫“八音與政通”的思想為立論點(diǎn),認(rèn)為本朝疆域遼闊,曠古所無(wú)有,故“文德遠(yuǎn)被”,“夷夏同風(fēng)”,亦非唐宋可及。受此兼容并包的文壇風(fēng)氣影響,元代詩(shī)格在研討風(fēng)格問(wèn)題時(shí),著重論述了三個(gè)方面:首先,主張“選詩(shī)不當(dāng)以己局人”,而以得風(fēng)雅之正為旨?xì)w,對(duì)各種風(fēng)格類型的“得”與“失”展開(kāi)細(xì)致的品評(píng)。其次,提倡“備盡眾體而成一家”,從時(shí)代、才行、體裁這三個(gè)層面對(duì)詩(shī)歌風(fēng)格為何氣象萬(wàn)殊進(jìn)行理性分析。最后,元代詩(shī)格沿承宋代萌發(fā)的流派意識(shí)梳理詩(shī)歌發(fā)展史,集中而系統(tǒng)地研討了江西詩(shī)派的宗法傳統(tǒng),并將它與其他詩(shī)歌流派進(jìn)行了比較分析。第五章,元代詩(shī)格對(duì)“真味”和“格高”之境的品藻。元代詩(shī)格在審美品藻上追求“格高”和“真味”之境,并從創(chuàng)作技巧、審美理想、作家修養(yǎng)三個(gè)維度對(duì)這兩種不同的詩(shī)境展開(kāi)探討,實(shí)現(xiàn)了從格法到心靈、從技巧到藝術(shù)的飛躍。創(chuàng)作技巧上,前者規(guī)定“詩(shī)忌太工,工而無(wú)味”;后者則要求“始于意格成于字句”。作家修養(yǎng)上,前者提出“據(jù)事言情,而有無(wú)窮之味”;后者則指出“意格欲高止乎義理涵養(yǎng)”。審美理想上,前者主張“于平淡中求真味”;后者則認(rèn)為“詩(shī)先看格高,而意又到、語(yǔ)又工為上”。
[Abstract]:The history of the so-called poetic style China literary theory, is the artistic form of poetry criticism theory. After the start of the term as a kind of writing. The author believes that the Yuan Dynasty literary circles called "poetic revival", not only for a large number of its works come out, more performance for the study of the depth of its in the Yuan Dynasty. Although less than its original song, but on the basis of previous works, showing a systematic and detailed features. This paper research on the Yuan poetry is divided into writer, rhythm, style, poetic style, five topics, to explore how to realize the transformation of Yuan Dynasty its word. Exit three - layer language mechanism, from the poem "technique" to the poem "Tao" leap, in order to complete the overall framework of the Yuan Dynasty poetic style. At the same time combing cultural motivation behind the theory of rational analysis of poetic style, Two-way interpretation of literary theory and culture, to better understand the aesthetic orientation and value factors of poetry theory of Yuan Dynasty poetry style home works. In the first chapter, the analysis on its poem quality. The continuation of the ancient "China Yuan Poetic Character of poetry in one" mode of interpretation, the feeling of the poem is seen as primitive, stressed the nature conservation and express. But in the specific way of conservation of "disposition" on the differences: one is "about love cultivation to the poem, poetry must be asked to do them good; two is that the" disposition of hair should be natural, "poem" requirements but, do not hold to death. And on the basis of clear "disposition is the origin of poetry", the advocate of "conservation not when its benefits to learn", pay attention to poetry knowledge. That reading can not only change the poem of temperament, but also be beneficial to expand Crooks, master more poetry materials and techniques, so the promotion of "reading poems with thick capital", and put forward a concept of "" two "" three "the reading of the law. In the second chapter, on the interpretation of the poetic style of Yuan dynasty literati political pattern based on rhythm. The yuan Dynasty unified, also in pursuit of the unified culture. While both elegant and is the weather and the culture of the Central Plains Dayuan is far are four core connotation of its cultural unity. Therefore the Yuan Dynasty in the writings of poetic rhythm, on the one hand, holding the positive sound Yayun aesthetic ideal, think the sound of" partial "theory, also has the" elegance "rhyme therefore, should be based on the Central Plains phonology is expensive, and avoid weird rhyme, and put forward the" gas and sound "and" because of love for the sound of "specific tuning method for acoustic Yayun. On the other hand, advocating harmonious rhythm and collocation, mainly from two aspects: analysis first, through 瀵光，

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