本文選題：許學夷 + 葉燮��； 參考：《湖北民族學院》2017年碩士論文

【摘要】：許學夷與葉燮皆是中國古代著名的詩學理論家,近年來,關(guān)于許學夷與葉燮“正變”說的比較研究,風毛鱗角。雖有相關(guān)文章涉及,但其研究沒有深入展開,尚未形成公論。本文以許學夷《詩源辯體》與葉燮《原詩》為研究文本,試圖對許學夷與葉燮的“正變”說進行比較研究,以闡明許學夷與葉燮“正變”說的詩學內(nèi)涵,以及二者的正變價值取向。本文由緒論、正文、結(jié)語三部分組成。緒論部分主要簡析評述近三十年國內(nèi)外關(guān)于許學夷與葉燮“正變”說的研究現(xiàn)狀,并闡述本研究課題的選題背景及現(xiàn)實意義。正文共分為三章,主要比較研究許學夷與葉燮的“正變”說。第一章從詩之源流與詩之正變兩方面比較分析許學夷與葉燮詩歌發(fā)展觀的異同。在詩之源流上,許學夷與葉燮雖然都繼承了《三百篇》為源、《三百篇》而后為流的論詩傳統(tǒng),但在審其詩之源和詩之流時,論述的方式迥異。關(guān)于詩之源,許學夷的論述呈現(xiàn)出多元性,可以歸結(jié)為“源之正”,葉燮的論述呈現(xiàn)出整體性,可以歸結(jié)為“源之盛”;關(guān)于詩之流,許學夷以“世次定盛衰”而論,葉燮以“遞衰遞盛”而論。在詩之正變上,許學夷與葉燮都繼承了“風雅正變”思想,但在審其詩之正變時,論述的方式迥異。關(guān)于詩歌正變之規(guī)律,許學夷從詩歌自律與他律的維度,認為“同正異變”,葉燮從“正變系乎時”與“正變系乎詩”的維度,認為“正變互為循環(huán)”;關(guān)于詩之變,許學夷以“變而入神”為最高境界,葉燮以“變能啟盛”為詩歌發(fā)展的動力與整體趨勢。第二章從創(chuàng)作主體與創(chuàng)作方法兩方面比較分析許學夷與葉燮正變創(chuàng)作論的異同。關(guān)于創(chuàng)作主體,許學夷與葉燮認為創(chuàng)作主體的識、才力與詩歌發(fā)展密切相關(guān)。許學夷提出“識為主,才力輔之”,有識正變自分,才力既大而詩之善變。葉燮提出“識為體才為用”,有識是非明,力大才堅而詩之大變,自成一家。關(guān)于創(chuàng)作方法,許學夷與葉燮雖然都強調(diào)創(chuàng)作中對“正”與“變”的把握,但又略有不同。許學夷從詩歌體制規(guī)范之正與體式格調(diào)而論,提出“體有常法”、“格有所限”;葉燮則以“死法”與“活法”而論,強調(diào)詩歌創(chuàng)作應(yīng)遵循詩歌固有的形式規(guī)范與創(chuàng)新。而在取法于古人上,許學夷強調(diào)“取古人所長,濟己之短。”葉燮則主張“不忽略古人,不附會古人”。第三章,從對七子師古論和公安派、竟陵派師心論的批判中比較分析許學夷與葉燮力圖調(diào)和崇正與主變的正變批評論的異同。對于七子師古論的批判,許學夷與葉燮在分別以“于道為過”和“排變崇正”揭示其崇正思想偏頗的同時,又主張對其做理性分析和擇優(yōu)闡述,并分別以“于正有得”和“執(zhí)源棄流”對其立足于正給予肯定。對于公安派、竟陵派師心論的批判,許學夷與葉燮在分別以“于道為離”和“矯枉過正”揭示其主變思想偏頗的同時,也分別以“于變有得”和“得流棄源”對其立足于變給予肯定。結(jié)語部分總結(jié)分析許學夷與葉燮“正變”說對傳統(tǒng)詩學的繼承與發(fā)展。
[Abstract]:Xu Xueyi and Ye Xie are the famous poetics theorists of ancient China. In recent years, the comparative study of Xu Xue and Xie Xie's "positive change" has been studied. Although there are related articles, the research has not been carried out in depth and has not yet formed a public comment. This article is a study of the text of the study of Xu Xue Yuan < poetry source > and Ye Xie < original poem > as the research text, trying to make a study of Xu Xueyi. A comparative study of the "positive change" theory of Ye Xie is made to clarify the poetic connotation of Xu Xue and Ye Xie's "positive change", as well as the positive value orientation of the two. This article is composed of the introduction, the text and the conclusion of the three parts. The introduction is a brief review of the current research status on the theory of Xu Xue Yi and the "positive change" of Xu Yi and Ye Xie in the past thirty years. The text is divided into three chapters. The main part is to compare the "positive change" of Xu Xue and Ye Xie. In the first chapter, the differences and similarities between Xu Xue and Ye Xie poetry are compared and analyzed from the two aspects of the origin of poetry and the positive change of poetry. < three hundred > the poem tradition of the later flow, but in the source of poetry and the stream of poetry, the way of discussion is quite different. On the source of the poem, Xu Xue's exposition is pluralistic, which can be attributed to "the source of the origin". Ye Xie's exposition is as a whole, which can be attributed to "the prosperity of the source"; and as to the flow of poetry, Xu Xueyi is "in prosperity and decline of the world". On the positive change of poetry, Xu Xue and Xie Xie inherited the thought of "elegance and change" in the positive change of poetry, but in the positive change of the poem, the way of discourse is quite different. In the second chapter, the second chapter compares and analyzes the similarities and differences between Xu Xueyi and Ye Xiezheng's theory of creation from the two aspects of the creative subject and the creation method. As the main body, Xu Xue and Ye Xie think that the creative subject's knowledge and talent are closely related to the development of poetry. Xu Xue proposed that "knowledge is the main part and talent is supplemented". Although Yi and Ye Xie all emphasize the grasp of "positive" and "change" in his creation, he has a slight difference. Xu Xue Yi, from the positive and physical style of the system of poetry, puts forward the "body and the law" and "the limit of the grid". Ye Xieze, with the "death law" and the "living law", emphasizes that poetry should follow the formal norms and creation of poetry. In the third chapter, from the criticism of the ancient theory of the seven sons and the public security school and the criticism of the Jingling School, Xu Xie analyzed the similarities and differences between Xu Xue and Ye Xie trying to adjust the criticism and the criticism of the main change. The critique of the ancient theory of the seven sons, Xu Xue and Xie Xie, at the same time of revealing the bias of his advocating thought by "Yu Tao is over" and "row change advocating", advocated a rational analysis and preferred exposition of it, and affirmed his foothold on Yu Zheng on the basis of "Yu Zheng has got" and "abandoning the flow of the source". At the same time, Xu Xue and Ye Xie, respectively, reveal the biased ideas of the main changes in their main changes, respectively, and give their foothold in the transformation. The concluding remarks summarize and analyze the inheritance and development of the traditional poetics by Xu Xue and Ye Xie.
【學位授予單位】：湖北民族學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：I207.22

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