本文選題：宋詩(shī) + 論詩(shī)絕句��； 參考：《沈陽(yáng)師范大學(xué)》2017年碩士論文

【摘要】：論詩(shī)絕句作為論詩(shī)詩(shī)的一支,在整個(gè)論詩(shī)詩(shī)數(shù)量中占相當(dāng)比重,這種形式既打破了以文論詩(shī)的嚴(yán)肅性,又以詩(shī)的語言品評(píng)詩(shī)人詩(shī)作,揭示詩(shī)藝和詩(shī)理。本文以宋代論詩(shī)絕句為研究對(duì)象,對(duì)其所評(píng)的詩(shī)人和詩(shī)作及詩(shī)學(xué)理論進(jìn)行分析,重點(diǎn)論述論詩(shī)絕句評(píng)論的熱點(diǎn)問題,充分挖掘宋代論詩(shī)絕句不同于各個(gè)朝代的個(gè)性特征。論文分為五個(gè)部分:第一部分析了宋代論詩(shī)絕句的概況和其興盛的原因。據(jù)統(tǒng)計(jì),宋代論詩(shī)絕句一共有77家352首作品,北宋19家54首,南宋58家298首。由于理學(xué)的大興與喜好議論的習(xí)氣,加上宋詩(shī)創(chuàng)作形式的解放,禪宗和論詩(shī)絕句的相互促進(jìn)等因素的影響,宋代詩(shī)人繼承杜甫論詩(shī)絕句創(chuàng)作之勢(shì),使論詩(shī)絕句空前繁榮。第二部分論述了宋代論詩(shī)絕句的內(nèi)容,分別評(píng)論歷代詩(shī)人和詩(shī)作。對(duì)于詩(shī)人的評(píng)論,在文中一共選取了出現(xiàn)次數(shù)較多且具有代表性的六位詩(shī)人:杜甫、陶淵明、屈原、賈島、陳與義、張耒。同樣也選出了宋詩(shī)人評(píng)論最多的六篇作品進(jìn)行論述:潘閬《謝寇元外準(zhǔn)見示詩(shī)卷》、蘇軾《世傳徐凝瀑布詩(shī)云一條界破青山色至為塵陋又偽作樂天詩(shī)稱羨此句有賽不得之語樂天雖涉淺易豈止是哉乃戲作一絕》、楊萬里的《題山莊小集》、楊萬里《讀退之李花詩(shī)》、陸游《讀陶詩(shī)》、蕭立之的《題危定之芳洲吟卷》。第三部分論述了論詩(shī)絕句中評(píng)論的宋代詩(shī)學(xué)熱點(diǎn)問題,一是李杜優(yōu)劣的爭(zhēng)議,有揚(yáng)杜不抑李的,以蘇軾為代表,當(dāng)然學(xué)杜規(guī)模最大的還是江西詩(shī)派;有偏李而抑李的,以李覯為代表;也有并稱李杜的,以黃庭堅(jiān)最為突出。二是對(duì)江西詩(shī)法的探討:首先作詩(shī)要參悟前人的詩(shī)作,等完全掌握其方法后,就要“活”,慢慢跳出其窠臼,擺脫句法方面的束縛。熟悉一定的方法后,則開始尋找構(gòu)思內(nèi)容,無論是閉門覓句還是造訪自然,感觸而發(fā),最終都需要通過“悟”來點(diǎn)透。第四部分論述了論詩(shī)絕句中總結(jié)的詩(shī)人創(chuàng)作技巧,常以自然作為取法對(duì)象,在學(xué)習(xí)前人優(yōu)秀詩(shī)作的同時(shí)有所突破,做到既師古又創(chuàng)新。有的詩(shī)人還會(huì)注重作品里反映出的詩(shī)情和畫意。第五部分析了宋代論詩(shī)絕句藝術(shù)上的獨(dú)特之處。宋代論詩(shī)絕句把禪學(xué)引進(jìn)絕句之中,做到了雅俗并存,讓論詩(shī)絕句漸漸走入大眾視野,也使點(diǎn)悟式的文學(xué)批評(píng)方式發(fā)揚(yáng)光大;反其義而論之的翻案詩(shī),表明了詩(shī)人獨(dú)特的思維方式。
[Abstract]:Quatrains, as a branch of poetry, account for a considerable proportion of the total number of poems. This form not only breaks the seriousness of literary poetry, but also criticizes poets' poems in terms of their language, thus revealing their poetic skills and principles. This article takes the poetry quatrains of the Song Dynasty as the research object, analyzes the poets and poetic works and poetics theory, discusses the hot issues in the comment on poetry quatrains, and fully excavates the personality characteristics of the poems quatrains in the Song Dynasty which are different from each other in each dynasty. The thesis is divided into five parts: the first part analyzes the general situation of the quatrains in the Song Dynasty and the reasons for its prosperity. According to statistics, there are 77 poems and 352 poems in Song Dynasty, 19 in Northern Song Dynasty, 54 in Northern Song Dynasty, and 298 in Southern Song Dynasty. Due to the popularity of Neo-Confucianism and the habit of argumentation, the liberation of the form of poetry creation in Song Dynasty and the mutual promotion of Zen Buddhism and poetic quatrains, the poets of Song Dynasty inherited the tendency of du Fu's creation of quatrains on poems, which made the quatrains of poetry more prosperous than ever. The second part discusses the content of poetry quatrains in Song Dynasty and comments on poets and poems of all dynasties. For the comments of poets, six poets are selected in this paper: du Fu, Tao Yuanming, qu Yuan, Jia Dao, Chen Yue Yi and Zhang Lei. He also selected the six most commented poems of the Song Dynasty: pan Lang (Xie Kou Yuan), Su Shi's poem of Xu Ning Falls, a poem of Xu Ning Falls, one of the most humble and fake poems on the Qingshan Mountains, and the admiration of this sentence. "not the language of joy, although easy to do is not only a play," Yang Wanli's "the title of the Hill", Yang Wanli "read the retired Li Hua poem", Lu you "read pottery poetry", Xiao Lizhi's "Fangzhou Yin Scroll with a dangerous theme". The third part discusses the hot poetics of Song Dynasty commented on in the quatrains of poetry. One is the controversy about Li du's merits and demerits. Those who do not restrain Li are represented by Su Shi. Of course, those who study du on the largest scale are still Jiangxi poetic school, and those who are biased against Li and Li's. Li Gou as a representative; also known as Li du, Huang Tingjian is the most prominent. The second is the discussion of Jiangxi poetic method: first of all, we should understand the previous poems, and after we have mastered their methods, we should "live" and slowly get out of the rut and get rid of the bondage of syntax. After being familiar with certain methods, they begin to look for ideas, whether they are searching for words behind closed doors or visiting nature. The fourth part discusses the poet's creative skills summarized in the quatrains of poetry, often taking nature as the object of learning from the outstanding poems of the predecessors and making breakthroughs, so that he can not only master the ancient times but also innovate. Some poets also pay attention to the poetic feelings and paintings reflected in the works. The fifth part analyzes the unique features of quatrains in Song Dynasty. Poetry quatrains of the Song Dynasty introduced Zen into the quatrains, so that elegant and vulgar coexistence, so that poetry quatrains gradually into the public view, but also make the point of literary criticism way to carry forward; contrary to its justice of the case of poetry, It shows the poet's unique way of thinking.
【學(xué)位授予單位】：沈陽(yáng)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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