毛先舒《诗辩坻》格调诗论研究

发布时间：2018-05-06 22:21

本文选题：毛先舒 + 诗辩坻　；参考：《江南大学》2017年硕士论文

【摘要】：《诗辩坻》是明清格调诗论发展脉络上重要的诗学理论著作之一,毛先舒论诗上承明前后七子,下接清代沈德潜。《诗辩坻》在继承明代格调论核心观点的基础上,规避七子泥古弊端,综合公安、竟陵两派诗学主张,以情入格,兼采“格调”、“性灵”之长。结合明末清初学术背景,毛先舒论诗崇尚复古与儒家诗教,建立了以“摅情有方”、“稽古日新”、“法格融浑”为主要内涵的格调诗论,显示了明清两代格调诗说的发展演变。本文梳理了毛先舒格调诗论的历史语境,归纳了其论诗主张,呈现了其诗学价值。论文由绪论、正文、结语三部分组成。绪论介绍毛先舒及其诗学思想的研究现状,以此说明选题意义。正文分为三章,包括《诗辩坻》格调诗论的历史语境、主要内涵及诗学价值。最后,对毛先舒《诗辩坻》格调诗论进行总结并给予评价。第一章分析毛先舒格调诗论的历史语境。首先,从诗歌理论自身发展变化的理路进行讨论。梳理“格调”内涵,确定毛先舒的“格调”兼具形式与内容两重意蕴。以明代格调诗学发展路径为中心,历时性分析其发展演变的过程,为清代格调诗论的展开作理论上的铺垫。其次,考虑毛先舒格调诗论产生的外部环境。梳理以公安派为代表的“性灵说”的主要观点及其对格调诗学的影响。此外,以复古和诗教回归为切入点,分析明末清初社会现实对学术思想的影响。第二章阐释《诗辩坻》的格调论主张。从诗歌本质论、复古观、诗歌创作技法等三个方面理解毛先舒建立的格调诗论。首先,毛先舒主情,持诗缘情而发的观点,同时,他也强调所抒之情的雅正,情感抒发的节制,主张以诗人的人格修养来实现情感的合理抒发。其次,以师古为作诗路径,确定《诗经》源头风尚,以汉魏盛唐为宗,适当拓展至晚唐,同时坚持新变,要求“始于稽古,终于日新”。最后,论诗崇法,对字句篇法均有具体要求,以“敛才就格”突显法的重要,在求法时要求法格浑融,推崇含蓄诗风。第三章讨论毛先舒格调诗论的价值。首先,毛先舒论诗虽主张“温柔敦厚”诗教说,但更强调诗歌的审美特征,与诗歌的政教传统有一定疏离。其次,他论诗修正明代格调论遗留问题,在诗歌情感方面丰富了格调说内涵,在“温柔敦厚”诗教说与“重人格”等论说中与沈德潜的格调说同中有异,客观上发展了格调论并沟通了明清两代格调诗说。总之,毛先舒《诗辩坻》修正、发展了明代格调论,辩证吸收“性灵”观点,发清代格调论先声,是明清格调诗论发展链条上的重要一环。
[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.
【学位授予单位】：江南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.22

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