本文關(guān)鍵詞：元代詩格研究　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 詩體 風(fēng)格 詩境

【摘要】：中國文論史上所謂詩格,是針對詩歌藝術(shù)形式的批評理論。初唐以后才開始作為某一類著述的專有名詞。而筆者認為元代被文論界稱為“詩格的復(fù)興”,不僅表現(xiàn)為大量詩格類著作的問世,更表現(xiàn)為對詩格的研究深度。元代詩格較之唐宋雖少獨創(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)性和細密化的特征。本文對元代詩格的研究共分為作家、聲律、詩體、風(fēng)格、詩境五個專題,以點帶面探究元代詩格如何實現(xiàn)言—意—境三層語言機制的轉(zhuǎn)化,實現(xiàn)從詩之“技”到詩之“道”的飛躍,以期完成對元代詩格整體理論框架的梳理。同時對元代詩格理論背后的文化動因進行理性分析,實現(xiàn)文論與文化的雙向闡釋,更好地了解元代詩論家著述詩格的審美取向和價值動因。第一章,元代詩格關(guān)于詩者質(zhì)素的辨析。元代詩格延續(xù)了中國古代“人品與詩品合一而論”的闡釋模式,將情性看做是詩的本原,強調(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)性以立詩本”,要求學(xué)詩者必先做得好人才能做得好詩;二是主張“情性之發(fā)應(yīng)自然而然”,要求詩者隨感而發(fā),不可執(zhí)于死法。而在明確“情性乃詩之本原”的基礎(chǔ)之上,元代詩格又主張“涵養(yǎng)未至當(dāng)益以學(xué)”,重視詩者的學(xué)識修養(yǎng)。認為讀書不僅能改變學(xué)詩者的氣質(zhì),而且還有益于擴充眼識,掌握更多的詩歌素材和技巧,故提倡“讀書以厚詩資”,并進一步提出“一觀”“二學(xué)”“三作”的讀書之法。第二章,元代詩格聲律論闡釋。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)。而既雅且正的大元氣象和中原文化的遠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格聲律論時,一方面,高舉正聲雅韻的審美理想,認為聲有“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,并主要從兩個層面著手分析:其一,通過對“以意相合”、“以韻相和”與“以聲和體”等用律之法的具體研酌,以求得聲律與詩體、詩意的自然和諧。其二,對唐人的聲律病忌之說進行反思,指出“詩豈在專對偶聲病”,從而實現(xiàn)了從“專忌聲病”到“活法用之”的轉(zhuǎn)變。第三章,元代詩格詩體論探究。元代詩格對詩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,從而實現(xiàn)了從詩之“技”到詩之“道”的升華。首先,對詩體的源委正變進行梳理,提出“正變之說本于《三百篇》”,故應(yīng)以立意命辭,是否近于《三百篇》為準(zhǔn),來斷其正變。其次,在詩體結(jié)構(gòu)的布置上,主張“通變”之法,強調(diào)“詩法之變,而不離乎正也”。第四章,元代詩格風(fēng)格論芻議。元代詩格在風(fēng)格問題的研究上充分體現(xiàn)了文論與文化的良性互動和雙向闡釋。元代文人以劉禹錫“八音與政通”的思想為立論點,認為本朝疆域遼闊,曠古所無有,故“文德遠被”,“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,元代詩格在研討風(fēng)格問題時,著重論述了三個方面:首先,主張“選詩不當(dāng)以己局人”,而以得風(fēng)雅之正為旨歸,對各種風(fēng)格類型的“得”與“失”展開細致的品評。其次,提倡“備盡眾體而成一家”,從時代、才行、體裁這三個層面對詩歌風(fēng)格為何氣象萬殊進行理性分析。最后,元代詩格沿承宋代萌發(fā)的流派意識梳理詩歌發(fā)展史,集中而系統(tǒng)地研討了江西詩派的宗法傳統(tǒng),并將它與其他詩歌流派進行了比較分析。第五章,元代詩格對“真味”和“格高”之境的品藻。元代詩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)三個維度對這兩種不同的詩境展開探討,實現(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“詩忌太工,工而無味”;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”;后者則認為“詩先看格高,而意又到、語又工為上”。
[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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