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宋人诗话中,将“诗圣”杜甫的对仗艺术奉为诗学楷模,择取了杜甫一生诗歌创作中运用的多种对仗形式进行艺术批评,指出“借对”可通过借音和借义途径,使宽对变为工对,达到工巧自然之妙;“当句对”在句中自成对仗,且有一字相重,可使诗句音节流转,和谐入耳;“扇对”上下四句交错隔句成对,有如折扇弯曲而合之貌,方式独特;“流水对”上下两句,连贯而下地表达一个完整的意思,动态成对,可克服“对举式”对仗板滞的、凝固的弊端;并对杜诗中“轻重对”“偏枯对”的“词性不属”之缺点加以批评,体现出宋人批评视野的全面性。
In the poems of the Song Dynasty, the art of the antithesis of Du Fu ’s poems was regarded as a model of poetics, and artistic criticism of various forms of antithesis used in Du Fu’ s poems was taken. It was pointed out that Sound and borrowed ways to make wide pairs into pairs, to achieve the wonderful skills of nature; “When the sentence is right ” in the sentence since the match, and a word weight, can make poetry syllables flow, harmony ear; “Fan to the right and left four staggered Sentence paired parallels, like a folding fan bent together, the way unique,” “flowing up and down” two sentences, coherent and down to express a complete meaning, dynamic paired, to overcome Criticized the shortcomings of “partiality” and “part of speechlessness” in Du Fu’s poems, which reflected the criticism of Song people Comprehensiveness