杨慎与明中期复古诗学
发布时间：2018-08-05 09:22
【摘要】：杨慎身处明中期的复古诗学浪潮中。较杨慎时代稍前的李东阳、前七子均倡言复古,以《诗经》为经典,通过对风雅传统的提倡,来洗清明前中期萦绕诗坛的台阁之弊与理学之风。但由于《诗经》时代悠远、难以追摹,只有另择一种能够承接它的作品作为典范,并以此上溯《诗经》,才能达成复古目标。为此,李东阳立足于诗学辨体的理论,明确提出在区分古近体的基础上,以汉魏、盛唐诗分别作为古体、近体的典范,其余时代诗歌虽然也有佳作,但评价它们仍要以汉魏盛唐诗为标准进行。前七子基本延续了李东阳的思路,只是对诗歌时代的限定更加严格,不但提出古体宗汉魏、近体宗盛唐的宗旨,更认为六朝初唐及中唐以下诗均不足取。杨慎身为李东阳的门生,同前七子亦有交往,与他们一道列于复古阵营当中,但在以汉魏盛唐为宗尚的复古时风下,杨慎却变而提倡六朝初唐,成为了复古派内部的转捩点,也由此开创了六朝派,并对复古派后续诗学理论的转变产生了重要的影响。本文以杨慎为主要研究点、以复古派的历时发展为主轴,立足于李东阳、前七子、杨慎、六朝派、后七子等重要人物,探索复古一脉诗学思想的变化,在勾勒派系发展脉络的同时,着重分析杨慎对其他复古派诗人理论的继承拓展与批评改造,分析杨慎在复古派当中的地位以及对复古诗学的转变产生了怎样的影响。本文的研究方法主要有两个:其一是文学、文学理论与文学史研究相结合的方法,在关注研究对象杨慎本身的同时,将其诗学理论落实到诗歌史的背景与杨慎自身的诗歌创作中去,着眼明代诗学流派、文学思潮的变迁,发掘杨慎在复古派乃至明代诗学历史中独特价值与地位;其二是比较研究的方法,通过探究杨慎诗论与李东阳、前七子、六朝派等诗论的联系、与明代中后期诗人诗派的对照与比较,勾勒明代自弘治、正德、嘉靖以来的复古诗学大致发展脉络,揭示杨慎诗学在复古大潮中的独特性,分析杨慎诗论的对前人的继承、对同一时期诗学的开拓以及对后世的影响。本文主要分为六个部分。绪论部分论述杨慎研究的现状,认为目前杨慎相关研究虽然取得了较大的成果,但其诗学研究一直处于较为孤立的状态,没有被置入到明代复古诗学的宏观背景之下,既缺乏杨慎与其同时代诗人诗学的横向比较,也少有杨慎同前后期诗人诗学渊源传承的探索。同时明确了本文的写作目的就在于发掘杨慎在明代诗学历史中的独特价值,分析杨慎诗论对复古诗论前后期的转变产生了怎样的影响。第一章论述杨慎的生平经历与诗学主张。杨慎认为诗歌创作中,抒写情性是根本要旨,积学博观是必要条件;创作主体情思与学识的差异,造就了诗歌的多样性。而不同时代、不同诗人所作之诗,从反映性情的角度上说,均有其存在的合理性,所谓"人人有诗,代代有诗",故而杨慎在汉魏古诗与盛唐律诗之外,也推崇六朝初唐与宋代诗歌,认为它们同样是不同时代下诗人心声的流露。在诗歌风格方面,杨慎偏好于绮丽、含蓄蕴藉、自然、新奇的作品,对六朝诗人庾信以及盛唐诗人李白、杜甫均有推崇。第二章论述杨慎对李东阳诗学的继承与改造。李东阳以辨体论诗,严辨诗与文、古与律之界,一方面认为诗文不同体,诗歌以言情为主要特征,一方面认为古诗与律诗体制不同,古诗格高而律诗格卑,古诗尤其不可沾染近体体式。李东阳以情作为诗之根本,对诗歌的音乐性多予论述,将诗之音韵节奏与情性相联系,提出要从音乐与情感的关系方面领会诗歌的音响特征、时代格调。在这些理论的基础上,李东阳将汉魏诗确立为古体的经典,将盛唐诗确立为近体的典范。杨慎作为李东阳的学生,诗学继承李东阳"诗别是一教"的辨体意识,同样注重情性之于诗歌的重要性,在情的基础上探讨理想诗歌的审美典范,通过对唐宋诗的对比,得出唐诗主情的结论;但同时,杨慎更从各个朝代诗歌均是那个时代诗人真情的体现、六朝诗是盛唐律诗之起源两个角度立论,提出要尊唐而不可卑六代,打破李东阳近体独尊盛唐的提法。第三章阐述杨慎与前七子诗学的异同。诗歌本质方面,杨慎与前七子具有共同的主情倾向,都以为情乃诗歌创作的动因、是诗歌的本质特征、是诗歌创作的要求;复古论上,前七子以"古体学汉魏,近体宗盛唐"为旗帜,杨慎则针对前七子近体因模拟对象单一而造成剽窃模拟的弊病,提出盛唐之外还应宗法六朝初唐,杨慎这一主张影响了何景明,使得他的创作逐渐带有六朝倾向;诗歌风格上,前七子大都推崇杜甫为代表的盛唐格调,杨慎则偏好庾信为代表的含蓄老成的诗风;学古目标上,杨慎与前七子均肯定要"拟议以成变化",但具体路径上,李梦阳强调要由尺寸模拟而自然至于变化,何景明强调学诗须领会神情、不仿形迹,杨慎则强调作诗以博学为基础、融汇创作主体情思风格以成变化。同为李梦阳诗学的反拨,何、杨二人的观点有较多相似的地方。第四章阐述杨慎对六朝派以及嘉靖后续复古思潮的影响。杨慎作为六朝派核心人物,不仅建构起六朝派诗论体系,还在诗学、创作等方面,对薛蕙、杨门六学士、朱曰藩等人产生了直接的影响。而作为嘉靖前期诗学关键的一环,杨慎"六朝为唐律之源"的观点与对杜甫"诗史"的评价,也引起了广泛的讨论,影响了嘉靖后续的复古诗学发展。结语部分回顾杨慎在明中期复古诗学中的贡献,予以他应有的评价。
[Abstract]:In the middle of the Ming Dynasty, Yang Shen was in the wave of revival poetics in the middle of the Ming Dynasty. Li Dongyang and the first seven sons of Yang Shen, earlier than the Yang Shen era, advocated the restoration of ancient times, and the classic of "Book of Songs >", by advocating the tradition of elegance, to wash the fraud and science of the Taiwan Pavilion, which haunted the poets in the middle of the Qing Dynasty. But because of the long distance from the era of "Book of Songs >", it was difficult to copy it, and only another alternative could undertake it. As a model, the works can be traced back to the "Book of Songs >" to achieve the goal of restoring ancient times. For this reason, Li Dongyang, based on the theory of poetics, made clear that the poems of the Han and Wei dynasties and the poetry of the Tang Dynasty were exemplary in the Han Wei Dynasty and the poetry of the Tang Dynasty, while the poems of the rest of the times were also good, but they still had to be marked by the poetry of the Han and Wei Sheng Tang poems. The first seven sons basically continued the thought of Li Dongyang, only to be more strict with the time of poetry, not only to put forward the ancient Chinese and Han Wei, the tenet of the Tang Dynasty in the near body, but also to think that the poems of the Six Dynasties in the early Tang Dynasty and the middle Tang Dynasty were all insufficient. But under the wind of the ancient Han Dynasty and the Tang Dynasty, Yang Shen changed to the beginning of the Six Dynasties and became the turning point of the regu school, which created the Six Dynasties, and had an important influence on the transformation of the follow-up poetics theory of the regu school. This article took Yang Shen as the main research point, taking the diachronic development of the Fugu school as the main axis and based on Li. Dongyang, the first seven sons, Yang Shen, the Six Dynasties and the latter seven, explored the changes in the thought of the regu pulse poetics, and at the same time outlined the development vein of the factions, emphatically analyzed Yang Shen's inheritance and criticism of the theories of the other regu School Poets, analyzed Yang Shen's position in the regu school and the transformation of the regu poetry. There are two main methods in this study: one is the combination of literature, literary theory and the study of literary history. At the same time, while paying attention to the research object Yang Shen itself, he put his poetic theory into the background of the history of poetry and Yang Shen's own poetic creation, focusing on the school of poetry in the Ming Dynasty, the changes of the literary trend of thought, and excavating Yang Shen in the literature. The unique value and status of the regu school and the poetics history of the Ming Dynasty; the second is the method of comparative study. By exploring the relationship between Yang Shen's poetry and Li Dongyang, the first seven sons and the Six Dynasties, compared with the poets' school in the middle and late Ming Dynasty, it outlines the general development of the reign poetry of the Ming Dynasty from Hong Zhi, Zheng de and Jiajing. The uniqueness of the prudent poetics in the tide of restoring ancient times, analyses the inheritance of Yang Shen's Poetics to the predecessors, the development of the Poetics of the same period and the influence on the later generations. This article is mainly divided into six parts. The introduction part discusses the present situation of Yang Shen's research, and holds that although Yang Shen's related research has achieved great achievements, his poetic research has been in the field. The relatively isolated state, which has not been placed in the macro background of the poetry of the Ming Dynasty, is not only short of the horizontal comparison between Yang Shen and his poets in his contemporaries, but also on the exploration of the inheritance of the poetic origin of the poet Yang Shen in the same period. At the same time, it is clear that the purpose of this article is to explore the unique value of Yang Shen in the poetic history of the Ming Dynasty. Yang Shen's poetry theory has an influence on the transformation of the former and later period of the theory of complex poetry. Chapter 1 discusses Yang Shen's life experience and poetics. Yang Shen believes that in the creation of poetry, the expression of love is the fundamental tenor, and the accumulation of knowledge is the necessary condition; the difference between the love and knowledge of the creative subject makes the diversity of poetry. The poems made by people, from the angle of reflection, all have their rationality, so called "everyone has poetry and generation of poetry", so Yang Shen also praised the ancient poems of the Han and Wei dynasties and the poetry of the Tang Dynasty, and also praised the poems of the Six Dynasties and the Song Dynasty. They thought that they were also the voice of the poets in different times. In the poetic style, Yang Shen preferred the gorgeous, In the second chapters, the second chapters discuss Yang Shen's inheritance and transformation of Li Dongyang's poetics. Li Dongyang, on the one hand, thinks that poetry and prose are not androgynous, and poetry is the main feature, and on the one hand, the ancient poetry is considered. Different from the system of poetry, the ancient poetry is high and the rhythm of the poem is inferior, and the ancient poetry can not be contaminated with the near body style. Li Dongyang takes love as the root of poetry, discusses the music of poetry more, connects the rhythm of the poetry and the emotion, and puts forward that the sound characteristics of poetry and the tone of the times should be understood from the relation of music and emotion. On the basis of this, Li Dongyang established the poetry of Han and Wei as the classic of ancient style, and established the poetry of Sheng Tang as a model of the near body. As a student of Li Dongyang, Yang Shen has inherited Li Dongyang's "poetry is a teaching", and also pays attention to the importance of love to poetry. On the basis of emotion, it discusses the aesthetic model of the ideal poetry, and through the contrast of Tang and Song poems, The conclusion of the main feelings of the Tang poetry is drawn, but at the same time, Yang Shen's poetry is the embodiment of the true feelings of the poets of the times. The Six Dynasties Poetry is the two angles of the origin of the poetry of the Tang Dynasty, and it is proposed to respect the Tang and not be inferior to the six generation. The third chapter describes the similarities and differences between Yang Shen and the former seven poetics. On the other hand, Yang Shen and the first seven sons have common tendencies. They all think that love is the motive of poetry creation, is the essential feature of poetry and the requirement of poetry creation; in the theory of retro, the first seven sons are the banner of "the ancient Chinese and the Han Wei, the near sect Sheng Tang" as the banner, and Yang Shen puts forward the maladies of plagiarism for the former seven near body because of the single simulation object. In addition to the Tang Dynasty in the early Tang Dynasty of the Six Dynasties of the Tang Dynasty, Yang Shen influenced He Jingming and made his creation gradually with the tendency of Six Dynasties; in poetic style, the first seven sons most praised the Tang style represented by Du Fu, and Yang Shen preferred Yu Xin's style of poetry as the representative of his reserved and old poetry. In the study of the ancient goals, Yang Shen and the former seven sons must be "proposed to change into a change." On the specific path, but on the specific path, Li Mengyang stressed that the size simulation and natural change should be emphasized. He Jingming stressed that the study of poetry must comprehend the spirit and not imitate the shape. Yang Shen emphasized that poetry was based on the learning as the basis, and the poetic style of the creative subject was changed. There were more similarities between Li Mengyang's Poetics and the fourth chapters of Yang's views. The influence of Yang Shen on the Six Dynasties and the subsequent reunification of Jiajing. As a core figure of the Six Dynasties, Yang Shen not only constructs the poetic system of the Six Dynasties, but also has a direct influence on Xue Hui, the six Bachelor of Yang and Zhu Yuefan and others in poetry and creation. As a key part of the early Jiajing poetics, Yang Shen "the Six Dynasties as the Tang law." The view of "source" and the evaluation of the history of Du Fu's poetry have also aroused extensive discussion and influenced the development of regu poetry in the follow-up of Jiajing. The concluding part reviews the contribution of Yang Shen to the restoration of ancient poetry in the middle of the Ming Dynasty, and gives his due evaluation.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.22
本文编号：2165351
[Abstract]:In the middle of the Ming Dynasty, Yang Shen was in the wave of revival poetics in the middle of the Ming Dynasty. Li Dongyang and the first seven sons of Yang Shen, earlier than the Yang Shen era, advocated the restoration of ancient times, and the classic of "Book of Songs >", by advocating the tradition of elegance, to wash the fraud and science of the Taiwan Pavilion, which haunted the poets in the middle of the Qing Dynasty. But because of the long distance from the era of "Book of Songs >", it was difficult to copy it, and only another alternative could undertake it. As a model, the works can be traced back to the "Book of Songs >" to achieve the goal of restoring ancient times. For this reason, Li Dongyang, based on the theory of poetics, made clear that the poems of the Han and Wei dynasties and the poetry of the Tang Dynasty were exemplary in the Han Wei Dynasty and the poetry of the Tang Dynasty, while the poems of the rest of the times were also good, but they still had to be marked by the poetry of the Han and Wei Sheng Tang poems. The first seven sons basically continued the thought of Li Dongyang, only to be more strict with the time of poetry, not only to put forward the ancient Chinese and Han Wei, the tenet of the Tang Dynasty in the near body, but also to think that the poems of the Six Dynasties in the early Tang Dynasty and the middle Tang Dynasty were all insufficient. But under the wind of the ancient Han Dynasty and the Tang Dynasty, Yang Shen changed to the beginning of the Six Dynasties and became the turning point of the regu school, which created the Six Dynasties, and had an important influence on the transformation of the follow-up poetics theory of the regu school. This article took Yang Shen as the main research point, taking the diachronic development of the Fugu school as the main axis and based on Li. Dongyang, the first seven sons, Yang Shen, the Six Dynasties and the latter seven, explored the changes in the thought of the regu pulse poetics, and at the same time outlined the development vein of the factions, emphatically analyzed Yang Shen's inheritance and criticism of the theories of the other regu School Poets, analyzed Yang Shen's position in the regu school and the transformation of the regu poetry. There are two main methods in this study: one is the combination of literature, literary theory and the study of literary history. At the same time, while paying attention to the research object Yang Shen itself, he put his poetic theory into the background of the history of poetry and Yang Shen's own poetic creation, focusing on the school of poetry in the Ming Dynasty, the changes of the literary trend of thought, and excavating Yang Shen in the literature. The unique value and status of the regu school and the poetics history of the Ming Dynasty; the second is the method of comparative study. By exploring the relationship between Yang Shen's poetry and Li Dongyang, the first seven sons and the Six Dynasties, compared with the poets' school in the middle and late Ming Dynasty, it outlines the general development of the reign poetry of the Ming Dynasty from Hong Zhi, Zheng de and Jiajing. The uniqueness of the prudent poetics in the tide of restoring ancient times, analyses the inheritance of Yang Shen's Poetics to the predecessors, the development of the Poetics of the same period and the influence on the later generations. This article is mainly divided into six parts. The introduction part discusses the present situation of Yang Shen's research, and holds that although Yang Shen's related research has achieved great achievements, his poetic research has been in the field. The relatively isolated state, which has not been placed in the macro background of the poetry of the Ming Dynasty, is not only short of the horizontal comparison between Yang Shen and his poets in his contemporaries, but also on the exploration of the inheritance of the poetic origin of the poet Yang Shen in the same period. At the same time, it is clear that the purpose of this article is to explore the unique value of Yang Shen in the poetic history of the Ming Dynasty. Yang Shen's poetry theory has an influence on the transformation of the former and later period of the theory of complex poetry. Chapter 1 discusses Yang Shen's life experience and poetics. Yang Shen believes that in the creation of poetry, the expression of love is the fundamental tenor, and the accumulation of knowledge is the necessary condition; the difference between the love and knowledge of the creative subject makes the diversity of poetry. The poems made by people, from the angle of reflection, all have their rationality, so called "everyone has poetry and generation of poetry", so Yang Shen also praised the ancient poems of the Han and Wei dynasties and the poetry of the Tang Dynasty, and also praised the poems of the Six Dynasties and the Song Dynasty. They thought that they were also the voice of the poets in different times. In the poetic style, Yang Shen preferred the gorgeous, In the second chapters, the second chapters discuss Yang Shen's inheritance and transformation of Li Dongyang's poetics. Li Dongyang, on the one hand, thinks that poetry and prose are not androgynous, and poetry is the main feature, and on the one hand, the ancient poetry is considered. Different from the system of poetry, the ancient poetry is high and the rhythm of the poem is inferior, and the ancient poetry can not be contaminated with the near body style. Li Dongyang takes love as the root of poetry, discusses the music of poetry more, connects the rhythm of the poetry and the emotion, and puts forward that the sound characteristics of poetry and the tone of the times should be understood from the relation of music and emotion. On the basis of this, Li Dongyang established the poetry of Han and Wei as the classic of ancient style, and established the poetry of Sheng Tang as a model of the near body. As a student of Li Dongyang, Yang Shen has inherited Li Dongyang's "poetry is a teaching", and also pays attention to the importance of love to poetry. On the basis of emotion, it discusses the aesthetic model of the ideal poetry, and through the contrast of Tang and Song poems, The conclusion of the main feelings of the Tang poetry is drawn, but at the same time, Yang Shen's poetry is the embodiment of the true feelings of the poets of the times. The Six Dynasties Poetry is the two angles of the origin of the poetry of the Tang Dynasty, and it is proposed to respect the Tang and not be inferior to the six generation. The third chapter describes the similarities and differences between Yang Shen and the former seven poetics. On the other hand, Yang Shen and the first seven sons have common tendencies. They all think that love is the motive of poetry creation, is the essential feature of poetry and the requirement of poetry creation; in the theory of retro, the first seven sons are the banner of "the ancient Chinese and the Han Wei, the near sect Sheng Tang" as the banner, and Yang Shen puts forward the maladies of plagiarism for the former seven near body because of the single simulation object. In addition to the Tang Dynasty in the early Tang Dynasty of the Six Dynasties of the Tang Dynasty, Yang Shen influenced He Jingming and made his creation gradually with the tendency of Six Dynasties; in poetic style, the first seven sons most praised the Tang style represented by Du Fu, and Yang Shen preferred Yu Xin's style of poetry as the representative of his reserved and old poetry. In the study of the ancient goals, Yang Shen and the former seven sons must be "proposed to change into a change." On the specific path, but on the specific path, Li Mengyang stressed that the size simulation and natural change should be emphasized. He Jingming stressed that the study of poetry must comprehend the spirit and not imitate the shape. Yang Shen emphasized that poetry was based on the learning as the basis, and the poetic style of the creative subject was changed. There were more similarities between Li Mengyang's Poetics and the fourth chapters of Yang's views. The influence of Yang Shen on the Six Dynasties and the subsequent reunification of Jiajing. As a core figure of the Six Dynasties, Yang Shen not only constructs the poetic system of the Six Dynasties, but also has a direct influence on Xue Hui, the six Bachelor of Yang and Zhu Yuefan and others in poetry and creation. As a key part of the early Jiajing poetics, Yang Shen "the Six Dynasties as the Tang law." The view of "source" and the evaluation of the history of Du Fu's poetry have also aroused extensive discussion and influenced the development of regu poetry in the follow-up of Jiajing. The concluding part reviews the contribution of Yang Shen to the restoration of ancient poetry in the middle of the Ming Dynasty, and gives his due evaluation.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.22
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