元代诗格研究

发布时间：2018-01-11 02:08

  本文关键词：元代诗格研究　出处：《湖北民族学院》2017年硕士论文　论文类型：学位论文

  更多相关文章： 作家 声律 诗体 风格 诗境

【摘要】：中国文论史上所谓诗格,是针对诗歌艺术形式的批评理论。初唐以后才开始作为某一类著述的专有名词。而笔者认为元代被文论界称为“诗格的复兴”,不仅表现为大量诗格类著作的问世,更表现为对诗格的研究深度。元代诗格较之唐宋虽少独创,但却在继承前人撰述成果的基础之上,呈现出系统性和细密化的特征。本文对元代诗格的研究共分为作家、声律、诗体、风格、诗境五个专题,以点带面探究元代诗格如何实现言—意—境三层语言机制的转化,实现从诗之“技”到诗之“道”的飞跃,以期完成对元代诗格整体理论框架的梳理。同时对元代诗格理论背后的文化动因进行理性分析,实现文论与文化的双向阐释,更好地了解元代诗论家著述诗格的审美取向和价值动因。第一章,元代诗格关于诗者质素的辨析。元代诗格延续了中国古代“人品与诗品合一而论”的阐释模式,将情性看做是诗的本原,强调情性的涵养与抒发。但在涵养“情性”的具体方式上又生发了分歧:一是“约情养性以立诗本”,要求学诗者必先做得好人才能做得好诗;二是主张“情性之发应自然而然”,要求诗者随感而发,不可执于死法。而在明确“情性乃诗之本原”的基础之上,元代诗格又主张“涵养未至当益以学”,重视诗者的学识修养。认为读书不仅能改变学诗者的气质,而且还有益于扩充眼识,掌握更多的诗歌素材和技巧,故提倡“读书以厚诗资”,并进一步提出“一观”“二学”“三作”的读书之法。第二章,元代诗格声律论阐释。元代文人基于元代大一统的政治格局,在文化上亦追求大一统。而既雅且正的大元气象和中原文化的远被四方即是其文化大一统的核心内涵。因此元代文人在著述诗格声律论时,一方面,高举正声雅韵的审美理想,认为声有“正偏”之论,韵亦有“雅俗”之分,故应以中原声韵为贵,忌押险怪之韵,并提出“因气求声”和“因情求声”等具体的调律之法以求正声雅韵。另一方面,倡导声律搭配的谐和性,并主要从两个层面着手分析:其一,通过对“以意相合”、“以韵相和”与“以声和体”等用律之法的具体研酌,以求得声律与诗体、诗意的自然和谐。其二,对唐人的声律病忌之说进行反思,指出“诗岂在专对偶声病”,从而实现了从“专忌声病”到“活法用之”的转变。第三章,元代诗格诗体论探究。元代诗格对诗体论的研究遵循了从格式到意义乃至审美整体结构的思维方式,从而实现了从诗之“技”到诗之“道”的升华。首先,对诗体的源委正变进行梳理,提出“正变之说本于《三百篇》”,故应以立意命辞,是否近于《三百篇》为准,来断其正变。其次,在诗体结构的布置上,主张“通变”之法,强调“诗法之变,而不离乎正也”。第四章,元代诗格风格论刍议。元代诗格在风格问题的研究上充分体现了文论与文化的良性互动和双向阐释。元代文人以刘禹锡“八音与政通”的思想为立论点,认为本朝疆域辽阔,旷古所无有,故“文德远被”,“夷夏同风”,亦非唐宋可及。受此兼容并包的文坛风气影响,元代诗格在研讨风格问题时,着重论述了三个方面:首先,主张“选诗不当以己局人”,而以得风雅之正为旨归,对各种风格类型的“得”与“失”展开细致的品评。其次,提倡“备尽众体而成一家”,从时代、才行、体裁这三个层面对诗歌风格为何气象万殊进行理性分析。最后,元代诗格沿承宋代萌发的流派意识梳理诗歌发展史,集中而系统地研讨了江西诗派的宗法传统,并将它与其他诗歌流派进行了比较分析。第五章,元代诗格对“真味”和“格高”之境的品藻。元代诗格在审美品藻上追求“格高”和“真味”之境,并从创作技巧、审美理想、作家修养三个维度对这两种不同的诗境展开探讨,实现了从格法到心灵、从技巧到艺术的飞跃。创作技巧上,前者规定“诗忌太工,工而无味”;后者则要求“始于意格成于字句”。作家修养上,前者提出“据事言情,而有无穷之味”;后者则指出“意格欲高止乎义理涵养”。审美理想上,前者主张“于平淡中求真味”;后者则认为“诗先看格高,而意又到、语又工为上”。
[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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