【作者】 王玉媛；

【导师】 王英志；

【作者基本信息】 苏州大学 ， 中国古代文学， 2011， 博士

【摘要】 清代诗坛有神韵、性灵、格调、肌理四大诗歌流派,目前学界对前两个诗派的研究较多,而对后两个流派的研究较少,系统、深入的研究也尚未见。清代格调派是清代影响较大的诗歌流派之一,其领袖沈德潜更是研究清代诗学史和诗歌史无法规避的重要人物。但是,受其晚年政治际遇的影响,学界对于沈德潜的评价一直不高,甚至大多数是贬低。本论文以“清代格调派研究”为题,就是针对目前格调派及沈德潜研究的薄弱现状,试图填补这一学术空白。清代格调派的产生是清代诗歌史演进嬗变的必然结果,有其内在的深层逻辑。其产生的外部环境,是康乾以来的盛世背景、乾隆朝文化氛围及文人心态;而其产生的内部原因则鉴于宗宋派的偏失、神韵说的流弊两个方面。为了矫正清初宋诗热的偏失,沈德潜及其格调派重提唐诗传统;鉴于神韵说产生的流弊,沈德潜重视诗歌的现实内容,努力把诗歌从玄虚莫测拉向现实人生。因此,尽管同样学唐,神韵派瓣香王、孟、韦、柳,沈德潜却对杜甫情有独钟。沈德潜及格调派前期代表之所以选择尊唐黜宋的老路,原因正在于此。沈德潜之所以肯定明七子的格调说,原因也正在此。格调一开始运用到诗学批评领域,只是一般意义上的诗学理论。真正把格调上升到诗法的理论高度,并对明清两代格调说产生深远影响的,首推严羽《沧浪诗话》。严羽“学乎上”的观点直接被明七子继承。另外,明初高棅编选的《唐诗品汇》,严分初、盛、中、晚唐诗的做法对明七子格调说也有很大影响。格调正式成为复古派的理论旗帜,始于李东阳。李东阳不仅把格调引入复古理论,还提倡用格调品评诗歌。明七子进一步继承李东阳的格调说,从评分格调出发,达到分别时代之升降、尊唐黜宋的复古目的。鉴于格调说的明显弊病,明七子中的何景明、徐祯卿、王世贞、胡应麟、陈子龙等人对其展开修正。但是,明七子内部的这种修正是在既定规则之内的有限修正,其目的是折衷调和,故而其合理性受到很大制约,其修正效果也大打折扣。真正对明代格调说展开清算、并取得良好效果的,是公安派、钱谦益等。在经过公安派、钱谦益的清算挞伐后,格调说的弊端广为人知。但是,随着公安派末流诗风的率易浮滑,暴露出其诗歌理论与明七子一样存在矫枉正过,从反面证明徒讲性灵、抛弃格调依然是行不通的,这就促使清代人对格调说又展开了新一轮的修正。这次修正是在格调说的弊端已经昭然天下、诗文革新运动已成燎原之势的背景下展开的,由此决定这种修正既不同于复古派内部的简单修修补补,也不同于诗文革新派对复古派的一概否定,而是能超越两者,站在较为宏观的立场上进行修正,由此也决定他们的修正是卓有成效的。事实上,正是经过清初诗论家的修正,格调说的研究更加深入,也更容易为诗学界接受。毛先舒认为格调与性灵密不可分、相辅相成,缺一不可,显示出其调和格调与性灵的苦心。对格调说的修正最值得注意的是王士禛和叶燮的诗论。前者提倡转益多师,并以性情、学问两端补救格调说的流弊。后者则认为性情、才调等因素是诗之“质”,格调仅仅是依附于它们的诗之“文”,格调等因素只有依附诗之质的因素才有其价值,否则,则毫无价值。这次修正的重要成果之一,是为清代格调派的兴起奠定了理论基础,成为清代格调派的理论先声。清代格调派的诗歌理论具有较强的兼容综合性,对于宗宋派、神韵说、明七子格调说都有所继承,并尽量摒弃其明显缺陷,对不足之处尽力修正。同时,清初以来诗坛“从格调优先到性情优先”的诗学转捩也对格调派有重大影响。所以,清代格调派与明七子派最显著的区别,就是他们虽然也用格调来评价诗人诗作,但是,他们更加注重“性情”与“学问”的重要。清代格调派的诗歌理论首先强调诗本性情与言之有物,这是清初以来诗坛“从格调优先到性情优先”的诗学转捩的投影。其次,鉴于明七子某种程度上徒讲格调、遗漏才学的弊病,他们无不强调才学的重要性。这种倾向在格调派后期代表吴中七子身上体现得尤为明显。格调派还强调诗品与人品完美结合,并亲力亲为,实践着这一诗学主张。而在师法对象方面,沈德潜由早年宗唐发展至宗唐而不废宋,后期代表吴中七子在诗法对象上转益多师的倾向更加明显。在此基础上,指出清代格调说对明代格调说的修正与完善之处。对格调派领袖沈德潜的研究是本论文的重中之重。文章采用知人论世的研究方法,探讨沈德潜的人格修养及其所处的时代与其诗学思想、诗歌内容、诗歌风格之间的密切关系。朴实敦厚、安贫自守、宠辱不惊是沈德潜的主要个性特征。沈德潜诗学思想的核心——“温柔敦厚”,涉及诗人人格、诗歌内容、诗歌的表现方式三个层面。诗人人格方面的“温柔敦厚”,是指儒家提倡的忠君爱国、忧国忧民思想。诗歌内容方面的“温柔敦厚”,是指诗歌要言之有物,有补于世道人心。诗歌表现方式上的“温柔敦厚”,是指诗歌要写得含蓄蕴籍、渊涵婉曲。沈德潜“温柔敦厚”说既是儒家诗教的具体化,同时也受到清初以来诗坛重倡诗教,重整儒家诗学传统的影响,是历史的必然。沈德潜所倡导的“温柔敦厚”说产生由来已久,并非是为了迎合清代统治者。沈德潜“温柔敦厚”说之所以招致批判,主要原因在于其“温柔敦厚”说的确存在严重局限。沈德潜的格调说包括体制声律、艺术风貌、品第水准三方面的含义。就体制声律来说,这与明七子笔下的格调说并无不同,这也是学界将其视为传承七子衣钵的主要依据。而就艺术风貌、品第水准两方面来看,沈德潜已经超越明七子格调说的狭隘范畴,是格调说的集大成者。不仅如此,沈德潜的格调说还显示出一定的新变色彩。首先,他在论格调时,能够对一些超出最高典范之外的作品加以肯定,显示出不拘一格的宽容态度;其次也是最重要的,他欣赏诗歌格调方面的立异创新。尤其值得注意的是,沈德潜的格调说是在诗教统摄下展开论述的,格调说服从于“温柔敦厚”的诗教说,这正是其格调说与明七子格调说的根本不同之处。沈德潜在诗教统摄下论述格调说,其意义无疑是深远的。它使历来侧重于体现体制声律的“格调”不至步入形式主义的老路。它还有助于促使作家提高品质修养,充实诗歌的社会内容,从而提高诗歌的社会价值和审美价值。这就使其格调说在一定程度上突破了明七子格调说的藩篱,显示出理论的创新性。沈德潜的诗歌可以分为言志咏怀诗,反映现实的诗,山水诗,田园诗,怀古诗,怀人诗及应制诗等七类。其诗歌虽然存在平正有余、精警不足的缺点,但大都能做到有感而发,内容充实,感情真挚。以“典型的台阁诗体”概括沈德潜的诗歌,显然是不准确的。沈德潜早年在家乡苏州成立的城南诗社、北郭诗社,可视为格调派的雏形。盛锦、周准、顾诒禄三人,是清代格调派的重要成员,可视为前期代表。后期代表吴中七子,在诗歌成就、诗歌理论方面都更值得重视,他们也是格调派的中坚力量,同时也是本论文重点论述的对象。吴中七子中,王昶继承并完善沈德潜的诗歌理论,其诗歌成就也凌烁诸子,逐渐成为除了沈德潜之外的格调派另一领袖人物,可视为格调派的副将。另一诗人赵文哲,以其壮烈殉国的非凡经历及其远征西南乃至缅甸境内所作的山水边塞诗的成就成为七子中非常特殊的一位。王鸣盛早期诗名卓著,诗歌以才情取胜,中年后兴趣转向经史之学。曹仁虎早年与王鸣盛声名并列,诗歌内容丰富且诸体皆工,但他后来却沦为宫廷诗人。钱大昕大力创作咏史诗,而且咏史诗也是他最好、最有特色的诗歌,所以,钱大昕可视为“史家诗人”。吴泰来一生都过着类似隐居的生活,而且作诗一本渔洋,诗风较为单一。黄文莲则是七子中声名最弱的一位。除此之外,褚廷章和张熙纯可视为格调派后期的羽翼。在论述完格调派前期与后期代表诗人的基础上,把他们作一比较,发现其异同,或者说发现格调派后期对前期有何发展之处。在时间上与格调派并列的是袁枚性灵派、厉鹗浙派、翁方纲肌理派。格调派与性灵派的关系最引人注意。两派领袖沈德潜与袁枚交情甚深,袁枚本人对沈德潜的人品、诗歌多有赞誉,但是,袁枚却是批评沈德潜诗学最为激烈的一位。袁枚对沈德潜的批评集中在温柔敦厚说、宗唐学说、《清诗别裁集》不收艳情诗、格调说等四个方面。由于两派诗论的势若水火,袁枚对其诗歌理论的批评也不遗余力,一针见血。至于格调派与浙派,沈德潜对厉鹗的诗多有肯定之语,但厉鹗对沈德潜及其格调派颇有微词,这除了有诗学分歧之外,两人在性格及政治遭遇方面的不同经历也是造成分歧的重要因素之一。至于吴中七子与性灵派、吴中七子与浙派、吴中七子与肌理派,则相对简单得多,他们彼此看重,相互推崇,这主要源于吴中七子的诗学理论大都融通,论诗又都强调性情与学问的重要,在宗唐宗宋的问题上大都主张唐宋兼宗,这就使他们与这三派存在共同点,也是不同诗派在诗学上能够互相推崇的根本原因。因此,这四个诗派即使某种程度存在对立现象,也是诗坛盟主为坚守诗学阵营、固守诗学门户所采取的必要手段。与此相反,他们之间诗学观的牵连纠葛,彼此渗透以及某种程度上的融合则是大势所趋,这一点无疑更值得注意。如果说性灵派、浙派尤其是性灵派的兴起及其诗文冲击是导致清代格调派迅速势衰的重要原因,那么,从内部来看,主要是他们的诗学理论从某种程度上已经走向了历史的死胡同,再加上沈德潜去世后,王昶作为格调派副将,独木难支,格调派后继乏人,清代格调派遂走向消歇。更多还原

【Abstract】 There were verve, spirit, pattern theory and texture school of the four poetry genres in the Qing dynasty.At present, the research work circles on the first two more research, and for the later two schools there have little study system, in-depth study also has not been seen. Pattern school is one of the influencing poetry genres, its leaders were Shen De-qian ,an important figures in the research history and poetry history impossible to avoid. But by his old age’s influence of political experience, the evaluation of his academic is lower , even most is depreciated. This thesis with " pattern school in Qing dynasty "is an attempt to fill the status quo, academic blank.The pattern school of poetry is generated from the inevitable result of the Qing history, has its inherent deep logic. The produce of external environment of flourishing background, since the heyday of cultural atmosphere and literati mentality.And the internal reason is originated from the song pie, lured the verve of the two aspects of ills said.Pattern started to use to the literary criticism field, just the general sense of poetic theory. The real rose to the style of poetic law, and the theoretical height style of Ming and Qing dynasties far-reaching influence, said YanYu indisputably the surging wave of poetry. In addition, the early Gao bing edited the taste of the poetry of Tang,also has very a big effect. Pattern theoty officially become a retro pie flags, began in LiDongYang’s theory .After that ,LiMengYang further inherited from his theory. In view of the obvious distortions, HeJingMing ,XuZhenQing, Wangshizhen, Huyinglin began to correct the theory.But, such corrections within established rules is limited , its purpose is to compromise mediate, so its rationality is very restricted.So,Qian qian-yi and the school of GongAn , which the opposite of Ming style criticize the pattern theory. But, it also exposed some questions. So,the poets of Qing dynasty started a new round of amend. YeXie , Wang shi-zhen and Mao xian-shu,,amends the theory more acceptble. More inportant,they laid a theoretical foundation toThe pattern school.The theory of the pattern school emphasize resourful poem shut temperament with Qing dynasty, this is from "pattern priority to temperament priority" turn the projection aerofoil fengwen.on poetic. Second, to avoid the shortcomings of the Ming style, missing the evils, in some extent ,they learn the importance of all emphasize intellect. Its also emphasize grades of perfect combination with character. And in imitation, the experienced object from tang dynasty to imitate multilearning transformation. The leader of pattern school, Shen De-qian, is the most important in this paper. We discuss his personality, poetry content and the close relationship between the poetry style. Guileless and gentle, Ann poor sober were Shen De-qian personality traits. The core category were Shen De-qian poetic thought“tender and gentle”, involving poet, personality, poetry content, poetry expression three levels, it is the embodiment of the Confucian poem teaching and detailed, but also by the Qing dynasty promoted the poem teaching since heavy, reforming of the influence of traditional Confucian poetics. Although Shen De-qian "tender and gentle" said was been criticized, the main reason lies in its "tender and gentle" say really exists serious limitations. Shen De-qian pattern said including system rhythmic, art style, the meaning of prime level three aspects.The first meaning with system of Ming peulthai’s style said there is no different, which regarded as the main basis inheriting peulthai the mantle. And just art style, two side, prime level were Shen De-qian has transcended the pattern of Ming’s narrow categories. More importantly, pattern said subject to tender and gentle "poem",its significance is undoubtedly a far-reaching. It makes always focus on the "style of poems embody system," not enter formalist footsteps. It also helps to enhance the quality accomplishment, and enrich the writer of poetry, so as to improve social content of social value and poetry aesthetic value. The poems of Shen’s can be classified into reflect the reality of the poems, idyllic poems, landscape poetry,historical poetry,people poetry ,poetry category system,etc. Although his poems have shortcomings, mostly have substantial content.Founded in their hometown,the city of Suzhou, were Shen De-qian early poetry society which can be regarded as the early period of the school. ChengJin, Chouzhun,Gu yi-lu,are the early reprerentatives. Late in poetry, representing wuzhong peulthai,they made great achievements in the poetry,and the theory were more important.So, they are the backbone of the style of pie, but also the object of this paper emphatically discusses. Wuzhong peulthai, among them,WangChang with its poetry theory, poetry achievement become another leader, can regarded as another leader of the school. ZhaoWenZhe, with his glorious death, and the southwest landscape poetry achievement become a very special poet. WangMingCheng early poetry, poetry of outstanding talent, by the middle of his age ,he became interested to learn the history. CaoWenHu was Infamous in his early years with rich content in his poetry, but he later all but falls into court poets.Qian Da-xin can be regarded as "historian poets". WuTailai devoted himself to a similar to the life of a recluse, but also make the poem a fishing, poetic style,which is relatively single. HuangWenLian is the weakest poet . In addition, ChuTingZhang and ZhangXiChun can be regarded as the late style send wings. In the last, put them on the basis of a comparison to find their similarities and differences, or find what the development of the pattern theory.At the same time, there wereYuan mei’s spitit school, LI er’s zhejiang poetry school and WengFangGang texture school. Analysis with the three style send the relationship between poetry, and can know Qing dynasty poets expounded the style of influence .besides, still can in some degree of Qianlong dynasty examines toward a condition, thus the more clearly displayed pattern theory in the history of Qing dynasty poetics in status.Finally, the article probes into the reasons of the causes of the pattern school’s decline. Judging from the inside of their poetic theory, from a certain extent it headed to the history of the dead end; Plus after Shen De-qian died,WangChang apparently unable to surpport it . External reason is originated from The spirit school, zhejiang poetry school especially The spirit school’s rise and significant impact.更多还原