本文選題：毛先舒 + 詩辯坻��； 參考：《江南大學》2017年碩士論文

【摘要】：《詩辯坻》是明清格調詩論發(fā)展脈絡上重要的詩學理論著作之一,毛先舒論詩上承明前后七子,下接清代沈德潛�！对娹q坻》在繼承明代格調論核心觀點的基礎上,規(guī)避七子泥古弊端,綜合公安、竟陵兩派詩學主張,以情入格,兼采“格調”、“性靈”之長。結合明末清初學術背景,毛先舒論詩崇尚復古與儒家詩教,建立了以“攄情有方”、“稽古日新”、“法格融渾”為主要內涵的格調詩論,顯示了明清兩代格調詩說的發(fā)展演變。本文梳理了毛先舒格調詩論的歷史語境,歸納了其論詩主張,呈現(xiàn)了其詩學價值。論文由緒論、正文、結語三部分組成。緒論介紹毛先舒及其詩學思想的研究現(xiàn)狀,以此說明選題意義。正文分為三章,包括《詩辯坻》格調詩論的歷史語境、主要內涵及詩學價值。最后,對毛先舒《詩辯坻》格調詩論進行總結并給予評價。第一章分析毛先舒格調詩論的歷史語境。首先,從詩歌理論自身發(fā)展變化的理路進行討論。梳理“格調”內涵,確定毛先舒的“格調”兼具形式與內容兩重意蘊。以明代格調詩學發(fā)展路徑為中心,歷時性分析其發(fā)展演變的過程,為清代格調詩論的展開作理論上的鋪墊。其次,考慮毛先舒格調詩論產生的外部環(huán)境。梳理以公安派為代表的“性靈說”的主要觀點及其對格調詩學的影響。此外,以復古和詩教回歸為切入點,分析明末清初社會現(xiàn)實對學術思想的影響。第二章闡釋《詩辯坻》的格調論主張。從詩歌本質論、復古觀、詩歌創(chuàng)作技法等三個方面理解毛先舒建立的格調詩論。首先,毛先舒主情,持詩緣情而發(fā)的觀點,同時,他也強調所抒之情的雅正,情感抒發(fā)的節(jié)制,主張以詩人的人格修養(yǎng)來實現(xiàn)情感的合理抒發(fā)。其次,以師古為作詩路徑,確定《詩經》源頭風尚,以漢魏盛唐為宗,適當拓展至晚唐,同時堅持新變,要求“始于稽古,終于日新”。最后,論詩崇法,對字句篇法均有具體要求,以“斂才就格”突顯法的重要,在求法時要求法格渾融,推崇含蓄詩風。第三章討論毛先舒格調詩論的價值。首先,毛先舒論詩雖主張“溫柔敦厚”詩教說,但更強調詩歌的審美特征,與詩歌的政教傳統(tǒng)有一定疏離。其次,他論詩修正明代格調論遺留問題,在詩歌情感方面豐富了格調說內涵,在“溫柔敦厚”詩教說與“重人格”等論說中與沈德潛的格調說同中有異,客觀上發(fā)展了格調論并溝通了明清兩代格調詩說�？傊�,毛先舒《詩辯坻》修正、發(fā)展了明代格調論,辯證吸收“性靈”觀點,發(fā)清代格調論先聲,是明清格調詩論發(fā)展鏈條上的重要一環(huán)。
[Abstract]:"poetic argument" is one of the important works of poetics theory in the development of poetic theory of the Ming and Qing dynasties. Mao Xianshu wrote poems about the seven sons before and after the Ming Dynasty, followed by Shen Deqian in the Qing Dynasty. On the basis of inheriting the core views of the style theory of the Ming Dynasty, In order to avoid the defects of Qizi Nigu, comprehensive public security, Jingling two schools of poetics advocate, with feelings into the case, and adopt "style", "spirit" strong. In combination with the academic background of the late Ming and early Qing dynasties, Mao Xianshu advocated retro poetry and Confucian poetry education, and established a stylistic poetic theory with the main connotations of "the Father has a good feeling", "Ji Gu Rixin" and "Fa GE melt muddy" as the main connotation. It shows the development and evolution of the style poem theory in Ming and Qing dynasties. This paper combs the historical context of Mao Xianshu's poetic theory, sums up his propositions on poetry and presents its poetic value. The paper consists of three parts: introduction, text and conclusion. Introduction introduces Mao Xianshu and his poetics research status, so as to explain the significance of the topic. The text is divided into three chapters, including the historical context, main connotation and poetic value. Finally, the author summarizes and evaluates Mao Xianshu's poetic theory of poetic style. The first chapter analyzes the historical context of Mao Xianshu's poetic theory. First of all, from the poetry theory itself development and change of the rational way to discuss. Combing the connotation of "style", determine that Mao Xianshu's "style" has both form and content. Taking the development path of stylistic poetics in Ming Dynasty as the center, the diachronic analysis of the process of its development and evolution is the theoretical basis for the development of the poetic theory of style in the Qing Dynasty. Secondly, consider the external environment of Mao Xianshu's poetic theory. This paper combs the main viewpoints of the "spirit of nature", represented by the police school, and its influence on the poetics of style. In addition, the paper analyzes the influence of social reality on academic thought in the end of Ming Dynasty and the beginning of Qing Dynasty. The second chapter explains the stylistic theory of "poetic argument". This paper tries to understand Mao Xianshu's stylistic poetry theory from three aspects: the essence of poetry, the view of retro times and the techniques of poetry creation. First of all, Mao Xianshu holds the viewpoint of poetic affection. At the same time, he emphasizes the elegance of the expressed feelings and the temperance of emotional expression, and advocates the rational expression of emotion by the poet's personality cultivation. Secondly, take Shigu as the path of poetry, determine the fashion of the source of the Book of songs, take the prosperous Han and Wei dynasties as the zong, expand appropriately to the late Tang Dynasty, at the same time insist on the new changes, and demand that "start from the ancient times, finally be new". In the end, there are specific requirements for the method of worshiping words and sentences, and the importance of the method is highlighted by "the ability of convergence and ability", and the style of implicit poetry should be respected when seeking the law. The third chapter discusses the value of Mao Xianshu's poetic theory. First of all, although Mao Xianshu advocated the "gentle and honest" theory of poetry, he emphasized the aesthetic characteristics of poetry, which was alienated from the tradition of politics and religion in poetry. Secondly, he revised the style theory of the Ming Dynasty, enriched the connotation of style theory in the aspect of poetry emotion, and differed from Shen Deqian's style theory in "gentle and honest" poetic teaching theory and "heavy personality" theory. Objectively, it develops the theory of style and communicates the theory of style poetry between Ming and Qing dynasties. In a word, the revision of Mao Xianshu's poetic criticism developed the theory of style in Ming Dynasty, dialectically absorbed the viewpoint of "spirit of nature", and made the first sound of style theory of Qing Dynasty, which is an important link in the chain of development of poetic theory of style in Ming and Qing dynasties.
【學位授予單位】：江南大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：I207.22

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