本文選題：張問(wèn)陶 + 《船山詩(shī)草》�。� 參考：《四川師范大學(xué)》2017年碩士論文

【摘要】：學(xué)術(shù)界往往將張問(wèn)陶詩(shī)學(xué)觀點(diǎn)視為袁枚的附庸,而這種看法主要是由《清史稿》、《清續(xù)文獻(xiàn)通考》的誤導(dǎo)所致。雖然有的學(xué)者早已澄清這一事實(shí),卻似未引起相當(dāng)?shù)闹匾暋９P者考證出“推袁”二字典出于《世說(shuō)新語(yǔ)》,《推袁集》主要用于與袁枚的交游,而非心折于其詩(shī)學(xué)理論。詩(shī)寫性靈是乾嘉時(shí)期的一股風(fēng)潮,袁枚的詩(shī)學(xué)觀念與同時(shí)代人并非源與流的關(guān)系,他們是并列存在的。很多詩(shī)人接觸到“性情說(shuō)”的渠道不同,這也導(dǎo)致了作家們對(duì)其內(nèi)涵的理解存在分歧。張問(wèn)陶詩(shī)學(xué)淵源可以上溯到李白、杜甫、蘇軾諸人,而對(duì)他影響最為深刻的是其塾師馬杏里。張問(wèn)陶的“性情說(shuō)”認(rèn)為詩(shī)歌不僅要寫性情之真還要出乎于性情之正,所謂性情正就是要將忠孝為核心的儒家道德品質(zhì)內(nèi)化在個(gè)人的品性修養(yǎng)之中,并非純?nèi)巫匀弧垎?wèn)陶認(rèn)為詩(shī)歌能見出作家的品格,詩(shī)人應(yīng)注重人品和器識(shí)的修養(yǎng)。就創(chuàng)作而言,他認(rèn)為作家的創(chuàng)作動(dòng)機(jī)是詩(shī)發(fā)乎情,有真情然后才能有真詩(shī),反對(duì)艱新趁韻之作,主張創(chuàng)作主體應(yīng)具備充沛的情感和豐富的閱歷。詩(shī)歌創(chuàng)作的風(fēng)格以自然為旨?xì)w。就創(chuàng)作技法言,他的“無(wú)師論”漠視傳統(tǒng),體現(xiàn)出很明顯的師心自任的傾向。他主張不依門戶、不學(xué)古人、不重技法,用詩(shī)歌來(lái)寫真情、記真事、繪真境�？傊�,“真”從詩(shī)歌創(chuàng)作的基本要求上升成為了終極目的。在詩(shī)用論上,張問(wèn)陶主張用詩(shī)來(lái)記錄真實(shí)經(jīng)歷,把詩(shī)歌降格成為記錄的工具。事實(shí)上這種新變特征仍然是對(duì)詩(shī)歌“寫真”的推崇,“真”給了他抗衡千古的信心。他企圖淡化詩(shī)歌的工拙概念,不再去追尋作品在整個(gè)詩(shī)歌史上的價(jià)值,惟以自達(dá)其真是求,從而找到詩(shī)歌創(chuàng)作的意義。這背后折射出的是處在歷史軌道中的后來(lái)作者無(wú)法超越前賢的焦慮。張問(wèn)陶的詩(shī)學(xué)觀念并不是孤立的,其詩(shī)友方元鯤、朱文治等人的詩(shī)論都體現(xiàn)出相同的傾向。
[Abstract]:The academic circles often regard Zhang Wentao's poetics view as the vassal of Yuan Mei, and this view is mainly caused by the misdirection of "the draft of Qing Dynasty History" and "the General examination of Qing continuous Literature". Although some scholars have already clarified this fact, it does not seem to attract considerable attention. The author points out that the second dictionary of "pushing Yuan" is mainly used to travel with Yuan Mei, rather than his poetic theory. Poetry writing spirit is a trend in Qianjia period. Yuan Mei's poetic concept and contemporary people are not the relationship between source and flow, they are juxtaposed. Many poets have different access to the theory of temperament, which leads to different understanding of its connotation. Zhang Wentao's poetics can be traced back to Li Bai, du Fu and Su Shi. Zhang Wentao's "temperament theory" thinks that poetry should not only write about the truth of temperament but also the truth of temperament. The so-called temperament is to internalize the Confucian moral quality of loyalty and filial piety as the core of the individual, and is not purely natural. Zhang Wentao believes that poetry can see the character of the writer, and the poet should pay attention to the cultivation of personality and artistry. As far as creation is concerned, he thinks that the motive of the writer's creation is the emotion of poetry, and then he can have the true poem. He opposes the hard new rhyme, and argues that the creative subject should have abundant emotion and rich experience. The style of poetry creation aims at nature. In terms of creative techniques, his "theory of no teacher" ignores tradition and shows a clear tendency of self-appointment. He advocated not to follow the door, not to learn the ancients, not to pay attention to the techniques, to use poetry to write true feelings, to remember the truth, and to draw the true environment. In a word, truth has become the ultimate aim from the basic requirement of poetry creation. In the theory of poetry use, Zhang Wentao advocated the use of poetry to record real experience and demote poetry as a tool for recording. In fact, this new feature is still the praise of poetry, "True" gave him the confidence to counterbalance the ages. He tried to dilute the concept of poetry and no longer pursue the value of his works in the whole history of poetry. Behind this reflects the anxiety of the later authors, who are on the track of history, unable to surmount the former sages. Zhang Wentao's poetic ideas are not isolated, his poetry friends Fang YuanKun, Zhu Wenzhi and others have the same tendency.
【學(xué)位授予單位】：四川師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.22

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本文編號(hào)：1914473