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清初广陵词坛邹祗谟、王士禛、彭孙遹三位主将中,彭孙遹的词与词论,贯彻并发展了邹、王二人力图倡导的理论主张,是广陵词坛词学理论与实践的代表人物。彭孙遹提出“艳丽”本色是词体特性的必然要求,艳情与雅正实为一体二端;彭孙遹的词学理论主张以自然为宗,但也主张要加以雕琢,所谓“稍加刻画,镂金错绣者,渐近天然,则骎骎乎绝唱矣;”彭孙遹在批评词时虽然以“艳丽”为本色,但却并不排斥其他风格的作品,更能发现同一个词人身上并存的不同风貌。正是在清初那个特殊的背景中,横亘彭孙遹心头那难于说破、又无法释怀的士子情怀让他对稼轩词风的本质特质有了最切身的理解,从而也使其词风得稼轩三昧。
In the early Qing dynasty, Zong Zhimo, Wang Shizhen and Peng Sunwan, the three masters of Guangling’s Ci-poem, and the words and phrases of Peng Sun-kun, carried out and developed the theories advocated by Zou and Wang in their efforts to promote and are the representatives of Guangling’s Ci theory and practice character. Peng Sun-hsun proposed that the character of “gorgeousness” be the inevitable requirement of the character of the genre. The theory of the theory of Ci-poetry of Peng Sun-hsun advocates nature as the case, but also advocates carving out the so-called “ A little portrayed, Lou Jin wrong embroidered, asymptotic natural, then 骎 骎 almost never sing; ”Peng Sun 遹 in the criticism of the word though “ gorgeous ”based, but it does not exclude other styles of work, More able to find the same poet coexistence of different styles. It is in that particular context in the early Qing Dynasty that Hengshunshi Peng Sunwan’s heart that is difficult to say broken, and can not be relieved the feelings of the scholar made him the nature of the essence of Jiaxinyan style has the most personal understanding, and thus make its style Had Jia Xuan Samadhi.