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杜甫《戏为六绝句》在理论体系之建构上,全面继承了曹丕《典论·论文》的文学思想。关于批评界的不良风气,“轻薄为文哂未休”与“文人相轻”的观点相近。以此为据,对“轻薄为文”这一充满歧义和争议的命题进行辨析。关于批评方法和标准,“不薄今人爱古人”与“贵远贱近”的理论相似。在如何实践这一批评原则上,杜甫“读书破万卷”与曹丕“备历五经四部”等见解相合。文体论上,杜甫“能诗不能文”和“尽得古今之体势”与曹丕的“文非一体,鲜能备善”及其“能之者偏也,唯通才能备其体”的说法契合。价值论上,曹丕“传声名于后”的“文章不朽”论与杜甫“尔曹身与名俱灭,不废江河万古流”则极为吻合。
On the construction of the theoretical system, Du Fu’s “play for the six quatrains” fully inherited the literary thought of “the Treatises and Theses” by Cao Pi. As for the bad atmosphere in the critics, there is a similar point of view that “frivolous as a textual criticism ” and “literati”. Using this as a basis, this paper analyzes the ambiguous and controversial proposition that “frivolous is the text.” With regard to the methods and standards of criticism, the theory that “we love the ancients” is similar to the theory of “we are far less advanced”. In the principle of how to practice this criticism, Du Fu “reading broken volumes ” and Cao Pi “five calendar through five ” and other insights. In terms of stylistics, Du Fu’s poem “Can not Poem” and “Full and Ancient” are incompatible with Cao Pi’s “Wen Wei” General can prepare their bodies “argument fit. On the value theory, Cao Pi ”reputation in the post “ ”article immortality “ theory and Du Fu ”Cao Er body and name are off, do not waste river flow" is very consistent.