【作者】 杨匡和；

【导师】 杜海军；

【作者基本信息】 广西师范大学 ， 中国古代文学， 2014， 博士

【摘要】 本文是对蒙元时期(1206-1368)约一个半世纪的诗序的整理与研究。简言之,“诗序”是指依附于或关联着诗歌的序文。它是以《毛诗序》为源头,逐渐与诗歌创作活动结合(关联)在一起的一种散文形式。本文的研究对象以处于诗题与诗歌正文之间的诗前序为主,兼顾处于卷首(尾)的诗集(稿)序以及少量的诗文合集序、诗词合集序。“绪论”先对本论文的选题意义与研究思路作了交待,然后对诗序研究文献进行综述,主要介绍了二十世纪以来的诗序研究状况：《毛诗序》的研究仍是热点,《毛诗序》之外的断代诗序研究方面,唐代诗序研究成果较为突出,宋代诗序研究有少量成果,蒙元诗序研究相当薄弱。第一章是对诗序及元前诗序的概括性研究。首先深入探讨诗序渊源,从文字学意义上考察,“序”字本义为“东西墙”,又假借为“叙”或“绪”,因而具有“次弟”、“次序”、“开端”、“端绪”等引申义；其次考察了“序”的文体内涵及起源、诗序的别名、诗序与诗题的关系等相关问题。综合诸说,采用明代吴讷等人的“序起《诗》大序”之说,本文认为《诗》序是目前可见的最早的诗序。元前诗序的大体情况是：两汉魏晋南北朝现有诗序数量共144篇,诗序的主题是“赠答”、“宴游”。唐代诗序的总数为930篇。其中《全唐诗》的诗序696篇,《全唐文》的诗序234篇。目前尚不见学界对两宋诗序整体上的统计结果,依笔者对《全宋诗》、《全宋文》的梳理,整个宋代诗序的数量在2400篇左右,而蒙元时期的诗序数量约3600篇,略多于唐、宋诗序的总和。第二章主要是对元代诗序与诗歌文本关系的论述。从诗序的解诗功用大致划分为四类关系：交待诗歌创作背景；概括内容与揭示主旨；注释文本与说明出处；补充内容与延展抒情。第三章与第四章是基于诗序的元代诗学批评方面的研究。第三章第一节是元诗概论,重点论述元人对元代诗坛及元诗的看法。在元人看来,元代诗坛盛况空前,元诗品位视唐无愧。第二节是元代诗学“复古宗唐”论。复古宗唐是元人诗学理论的主要论调,也就是近体宗唐,古体宗汉魏,总体上以《诗》学观念为正,倡导诗歌复归风雅传统。第四章分别讨论了元代诗学的“本源”论与“穷工”论,两者分别属于文学本体论、文学创作论的范畴。元代诗学本源论有“诚”、“志”、“理”、“气”、“人情”、“性情”诸论,而以“性情”论最具普遍性与代表性,强调“性情之真”与“性情之正”。元人在前人“穷工”论的基础上,对诗人“穷达”与诗歌“工拙”问题及其内在联系等方面进行了深入思考,提出了充满思辨色彩的元代诗学“穷工”论,主要有三：一是刘辰翁的“穷工因时因命”说；二是戴表元的“穷工亦命亦人”说；三是胡次焱的“穷达在命不在诗”说。第五、六章是元代诗序研究的又一个模块——四个相对独立的专题研究：一个方法技巧方面的研究和三个题材内容方面的研究。第五章第一节探讨元代诗序的解题与类比问题。元人诗序解题的“新变”表现在：突破了常规解题的结构安排,在行文布局中采取分散式解题方式,出现了以设问句式逐字解题和主客问答式解题的新形制；元人诗序的类比手法从类比对象的结构关系上分析,可分为两相作比、叠合作比与连类作比三种情形,其中连类作比最具典型性：一组连类作比的类比对象不少于三个,类比对象之间“以类相从,环环相扣,递相作比”。第二节以元代诗序为中心,对中国古代采诗活动进行了系统考论。元代是中国古代采诗活动的鼎盛时期,以广大下层文士儒生为主力军的采诗队伍规模空前,参与人员身份各异。元人有独到中肯的采诗理论,所采诗歌结集刻梓,成果斐然,有元一代无比兴盛的采诗活动成为元代文学史上乃至中国文化史上一道亮丽风景。第六章第一节从诗序这一独特视角对元代最负盛名的玉山文人雅集活动进行观照：以诗序为据,梳理历次玉山雅集活动系年、场所、人员及主要活动内容,分韵赋诗是玉山雅集文学活动的核心形制,玉山雅集诗序是折射元末文人心态及时代变化的一面镜子。第二节是元代记梦诗序的专题讨论。与前代记梦诗序相比,元代记梦诗序的数量更多,内容更丰富,题材更广泛,记述更详细,某些篇幅较长的记梦诗序已具小说形制,几可完全摆脱与诗文本的依附关系而有着独立、独特的艺术审美价值。元人在诗序中试图解梦的种种努力,也体现着元代记梦诗序的独特认识价值与理论意义。第七、八、九章是对元代诗序文献价值方面的考论。第七章主要从理论上分别论述元代诗序的文学文献价值与史学文献价值。第八章是元代诗序的文献价值在实际考证案例中的应用与体现,根据考辨对象及考辨方式分为作者考辨、作品考辨、综合考辨三类。第九章是元代诗序中的非汉族人群体考述。蒙元时期的民族多样性与复杂性在中国历史上特色独具,非汉族人在元代社会各个领域尤其是文坛上异常活跃。元代诗序中有相当数量的篇章涉及非汉族人的事迹,多有补阙之功,故列专章对其考述。“附录”是对蒙元时期诗序爬梳整理之后形成的一个统计总表,便于与正文中引用的元代诗序篇名对照。更多还原

【Abstract】 Abstract:This paper is a collation and study of poem prefaces during the1.5century in the Yuan dynasty.In short,"poem preface" is attached to or associated with a preface to poetry. It is based on the "Mao" Poem Prefaces as the source, gradually incorporated with the poetry (association) in a prose.The research object of this paper is mainly those prefaces in poetry preorder,and those between poems and poetry text in front (tail) poetry (draft)."Introduction" first introduce the significance of the topic and the research ideas of this thesis, and then review the preface mainly introduces the research literature, poetry research since20th Century:Research is still hot to Mao’s preface, as cohort study, the Tang Dynasty poem preface research results more prominent,the Song Dynasty poem preface research have small achievements, the Yuan poetry study very weak.The first chapter is the general study of poem prefaces.in-depth study of poem prefaces origin, from the perspective of word meanings,"preface" word meaning "east wall and the west wall", it was used as a "narrative" or "clue", and therefore has the extended meaning of "order","start","dawn" and so on. Considering the previous every statement, we think Mao’s Preface is the earliest poem preface currently visible.The general situation of poem preface before the Yuan Dynasty is:Han Wei Jin Southern and Northern Dynasties existing number consists of144, preface is the theme of the "conversation","banquet". The total number of poem Prefaces in the Tang Dynasty for930. the "Full Collection of Tang poems" the696, the"Full Collection of Tang proses" preface of234. It is not education circles on the statistical results on the whole two Song poem prefaces, according to the "Full Collection of Song poems","Full Collection of Song proses" sort, number of the whole Song Dynasty poem prefaces in about2400articles, and the Mongol Yuan period about3600, slightly more than the Tang, Song poem prefaces sum.The second chapter is the discussion mainly about the relationship between the Yuan Dynasty poem preface and poetry text. Roughly divided into four categories: explain the background of poetry; sum up the content and reveal the main thrust; the comment text and indicate the source; supplement and extension of lyric.The first section of the third chapter is the introduction of Yuan Dynasty poetry, focusing on the Yuan people think of Yuan poetry. In the view of the Yuan people, Yuan Dynasty poetry before the event far beyond, which taste is not inferior to the poetry of the Tang poetry. The second section is the Yuan Dynasty Poetics "ZongTang Fugu" theory,which is the main tone retro Yuan Poetic Theory, also is the modern style poetry of Tang Dynasty, ancient poetry "Zong Han Wei", in general,"the Book of Songs" concepts as authentic, advocating the return of traditional poetry "Feng Ya".The forth chapter discusses the Poetics of "origin" theory and "Qiongong" theory. Yuan Dynasty poetic ontology "honesty","Zhi","Li","Qi","Renqing","Xingqing" of the theory, and to "Xingqing" theory is the most universal and representative, stressed that "the nature of truth" and "correctitude of disposition". Basic element in the previous "Qiongong" theory, in-depth reflection on the poet "poor" and poetry "workstation" problem and its inner link, put forward full of speculative Yuan Dynasty poetics "Qiongong" theory,which mainly has three kinds:one is Liu Chenweng’s "Qiongong decided by the times and the fate of subject"; two is the Dai Biaoyuan’s "Qiongong decided by the fate and the subject"; three is the Hu Ciyan’s " Qiongda decided by the fate but not the poem".The fifth chapter and the sixth chapter is the study of poem prefaces in Yuan dynasty. The first section of the fifth chapter discussion on Title Interpretation and analogical problem of Yuan dynasty poetry. Yuan poem preface Title Interpretation for the "new" features in the following aspects:Break the routine Title Interpretation structure, adopt distributed Title Interpretation methods in the text layout, the emergence of a new form to question sentence word for word Title Interpretation and objective interactive Title Interpretation.The second section discusses systematically investigated for Caishi activities in ancient China. Yuan Dynasty is the heyday of Caishi activities in ancient China, with the lower scribe scholars as the main force of the Caishi team on an unprecedented scale, personnel involved in the identity of different. The Yuan has unique pertinent Caishi theory, the poetry published, achievement strikings, Very prosperous Caishi activities become the literary history of Yuan Dynasty and the Chinese culture in a beautiful scenery.The first section of the sixth chapter from the unique perspective of poem prefaces to the most prestigious Yushan literati party activities:according to poem preface, combing the previous Yushan elegant gathering activities, places, year personnel and main content, Fenyun versing is the core of Yushan elegant gathering of literary activities, poem preface is a mirror reflecting Yushan party at the end of the Yuan dynasty literati mentality and the changes of times.The second section is the seminar about dream theme of poem prefaces. In contrast, the number of the Yuan Dynasty dream poem preface more than before, content is richer, more extensive themes, more detailed, some longer dream poem prefaces has a novel structure, can be almost completely get rid of the poem text dependent and independent, unique aesthetic value of art. Yuan people attempts to interpret the dream in the poem preface, it embodies the unique understanding and theoretical value of the Yuan Dynasty dream poem prefaces.The seventh, eighth and the ninth chapter focuses on the literature value of the Yuan Dynasty poem prefaces.The seventh chapter mainly theoretically discusses literature value and historical value of the Yuan Dynasty poem prefaces.The eighth chapter is the application and embodiment of the Yuan Dynasty poem prefaces literature value in practical research in the case, divided into the research about the author, the research about the work, and the comprehensive research.The ninth chapter is a textual research on the Yuan Dynasty poem prefaces of non Han Chinese population. During the period of the Yuan’s ethnic diversity and complexity in the China historically unique, non Han people in various fields especially active in Yuan Dynasty literature. A considerable number of textual involving non Han people’s deeds in the Yuan Dynasty poem prefaces, most of them have the supplement function.更多还原