张问陶诗学理论研究

发布时间：2018-05-20 11:40

本文选题：张问陶 + 《船山诗草》　；参考：《四川师范大学》2017年硕士论文

【摘要】：学术界往往将张问陶诗学观点视为袁枚的附庸,而这种看法主要是由《清史稿》、《清续文献通考》的误导所致。虽然有的学者早已澄清这一事实,却似未引起相当的重视。笔者考证出“推袁”二字典出于《世说新语》,《推袁集》主要用于与袁枚的交游,而非心折于其诗学理论。诗写性灵是乾嘉时期的一股风潮,袁枚的诗学观念与同时代人并非源与流的关系,他们是并列存在的。很多诗人接触到“性情说”的渠道不同,这也导致了作家们对其内涵的理解存在分歧。张问陶诗学渊源可以上溯到李白、杜甫、苏轼诸人,而对他影响最为深刻的是其塾师马杏里。张问陶的“性情说”认为诗歌不仅要写性情之真还要出乎于性情之正,所谓性情正就是要将忠孝为核心的儒家道德品质内化在个人的品性修养之中,并非纯任自然。张问陶认为诗歌能见出作家的品格,诗人应注重人品和器识的修养。就创作而言,他认为作家的创作动机是诗发乎情,有真情然后才能有真诗,反对艰新趁韵之作,主张创作主体应具备充沛的情感和丰富的阅历。诗歌创作的风格以自然为旨归。就创作技法言,他的“无师论”漠视传统,体现出很明显的师心自任的倾向。他主张不依门户、不学古人、不重技法,用诗歌来写真情、记真事、绘真境。总之,“真”从诗歌创作的基本要求上升成为了终极目的。在诗用论上,张问陶主张用诗来记录真实经历,把诗歌降格成为记录的工具。事实上这种新变特征仍然是对诗歌“写真”的推崇,“真”给了他抗衡千古的信心。他企图淡化诗歌的工拙概念,不再去追寻作品在整个诗歌史上的价值,惟以自达其真是求,从而找到诗歌创作的意义。这背后折射出的是处在历史轨道中的后来作者无法超越前贤的焦虑。张问陶的诗学观念并不是孤立的,其诗友方元鲲、朱文治等人的诗论都体现出相同的倾向。
[Abstract]:The academic circles often regard Zhang Wentao's poetics view as the vassal of Yuan Mei, and this view is mainly caused by the misdirection of "the draft of Qing Dynasty History" and "the General examination of Qing continuous Literature". Although some scholars have already clarified this fact, it does not seem to attract considerable attention. The author points out that the second dictionary of "pushing Yuan" is mainly used to travel with Yuan Mei, rather than his poetic theory. Poetry writing spirit is a trend in Qianjia period. Yuan Mei's poetic concept and contemporary people are not the relationship between source and flow, they are juxtaposed. Many poets have different access to the theory of temperament, which leads to different understanding of its connotation. Zhang Wentao's poetics can be traced back to Li Bai, du Fu and Su Shi. Zhang Wentao's "temperament theory" thinks that poetry should not only write about the truth of temperament but also the truth of temperament. The so-called temperament is to internalize the Confucian moral quality of loyalty and filial piety as the core of the individual, and is not purely natural. Zhang Wentao believes that poetry can see the character of the writer, and the poet should pay attention to the cultivation of personality and artistry. As far as creation is concerned, he thinks that the motive of the writer's creation is the emotion of poetry, and then he can have the true poem. He opposes the hard new rhyme, and argues that the creative subject should have abundant emotion and rich experience. The style of poetry creation aims at nature. In terms of creative techniques, his "theory of no teacher" ignores tradition and shows a clear tendency of self-appointment. He advocated not to follow the door, not to learn the ancients, not to pay attention to the techniques, to use poetry to write true feelings, to remember the truth, and to draw the true environment. In a word, truth has become the ultimate aim from the basic requirement of poetry creation. In the theory of poetry use, Zhang Wentao advocated the use of poetry to record real experience and demote poetry as a tool for recording. In fact, this new feature is still the praise of poetry, "True" gave him the confidence to counterbalance the ages. He tried to dilute the concept of poetry and no longer pursue the value of his works in the whole history of poetry. Behind this reflects the anxiety of the later authors, who are on the track of history, unable to surmount the former sages. Zhang Wentao's poetic ideas are not isolated, his poetry friends Fang YuanKun, Zhu Wenzhi and others have the same tendency.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.22

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