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自从明代前后七子在复古的旗帜下,自觉围绕体制、气格来建构他们的诗学体系,“格调”说便成为一个极为流行的命题。从李梦阳、何景明,到李攀龙、王世贞、谢榛,再到明清之际的申涵光、归庄、毛先舒,后至清代的沈德潜、李重华等人,构成了一个格调诗说发展的脉络,其中前后七子、毛先舒、沈德潜又起到了轴心的作用,而作为连接七子与沈德潜的中间链条,毛先舒所建立起来的“格调”诗说,以讲究法度的调控、情感的节制、诗艺的内敛为重要内涵,其凸显的是一种雅化的情怀与精英文化的审美趣味。这既区别于“主于涩”而强调气的七子“格调”说,又与在温柔敦厚的“诗教”语境中言说格调的沈德潜不同。因此,考察毛氏的论诗大旨,对于梳理明清两代格调诗说的迁衍流变有着重要的意义。
Since the Ming and Qing Dynasties, under the flag of retro-culture, the Qizi conscientiously constructed their poetic system around the system and character. The “style” has become an extremely popular proposition. From Li Mengyang, He Jingming, to Li Panlong, Wang Shizhen, Xie Zhen, then to the Ming and Qing dynasties, Shen Hanuang, Guizhuang, Mao Xianshu, Shen Deqian and Li Zhonghua in the Qing Dynasty constituted a thread of style development , Of which seven before and after, Mao Xianshu, Shen Deqian also played a role as the axis, and as an intermediate chain connecting the seven sons and Shen Deqian, Mao Xianshu established “style” poem that in order to pay attention to the regulation of the law, emotional restraint, poetry Introverted art as an important connotation, which highlights is a kind of elegant feelings and the aesthetic taste of elite culture. This is different from the “seven-tone” style that emphasizes the “main subject” and the moral one in the “poetic” context of gentleness and dignity. Therefore, the study of Mao’s poetic themes is of great significance for combing the evolution of the style of poem in the Ming and Qing dynasties.