李梦阳与明代诗坛研究

【作者】 刘坡；

【导师】 李时人；

【作者基本信息】 上海师范大学 ， 中国古代文学， 2012， 博士

【摘要】 本文以整个明代诗坛为坐标系,通过考察、研究李梦阳诗学思想对前辈诗论的继承、改革和对同时代及其后世诗人的影响,确立李梦阳在明代诗学史上的地位、价值和作用。全文除去《导言》和《结语》,共分六章。第一章简述了李梦阳的生平,并详细考察李梦阳著述各版本在明清两代的刊刻情况及李梦阳的思想心态。李梦阳的著述主要分集部、史部、子部三类,考察其在明清两代刊刻的各版本,集类著述有别集本十三种,选集本二十一种,李梦阳点评本七种；史类著述两种；子类著述五种。同时以表格的形式详录各书目题跋对李梦阳著述的载录情况和国内及域外现存李梦阳著述的馆藏概况。关于李梦阳思想心态的考察则主要就其冲击程朱理学的哲学思想、摒佛弃道尊崇儒学的宗教思想和匡世济民的政治思想三方面展开,其中又从李梦阳与程朱理学的关系入手重点研究了李梦阳的哲学思想。李梦阳顺应明代商品经济快速发展的社会现实,承续儒家一脉,将视角转入“日用生活”去寻求“道”,肯定人欲,关注人本体,以积极地态度面对人生,对日益僵化的程朱理学产生了冲击,而这种新的思想渗透到李梦阳的文学复古运动中,使得其与阳明心学虽“二事根本抵牾,竟能齐驱不倍”,开启了晚明文学新思潮。第二章通过对李梦阳与李东阳的关系,李梦阳对李东阳的继承与批评的研究,把握弘正诗坛盟主变化的情况。李梦阳初师从于李东阳,以茶陵派中人自居,但至弘治后期,由于政治倾向和文学主张的相异,李梦阳逐渐与李东阳疏离,和前七子其他成员代茶陵派而起,共倡复古。李东阳是李梦阳诗学思想的先导,李梦阳在诗文辨体、“格调”说、对待宋诗的态度等问题上承续李东阳而下,对其进行了理论深化和再探讨,初步完成了以古典审美理想为旨归的复古理论体系的建立。第三章以弘治末年,李梦阳为首的前七子派发起复古运动为时间结点,研究明代前半期复古诗风的消长。复古意识贯穿于整个明前期诗坛,从明初吴中、越中、闽中、岭南、江右各诗派要求恢复中古的雅正,到永乐至正统年间台阁体在经世致用诗学观主导下以“鸣盛”为第一要务的追求平和雅正的盛世之音,再到茶陵派开始注重诗歌的审美特质,并将诗歌从附庸政治解放出来,最后到前七子派,明诗经历了由尚质主义向文质彬彬,由主理抑情向扬情去理,由醇雅正大向雅俗齐鸣的转变。第四章由考察前七子派的形成入手,重点论述了前七子派内部复古思想在前期的融合和在后期的分化,以动态研究的方法探讨前七子派成员诗学思想的变化。前七子派的形成是一个随着有共同文学主张的流派成员自觉向心聚集而缓慢发展的过程,这个具有强大凝聚力的关键就是李梦阳,因此,前七子派的形成也可以说是其他成员向李梦阳聚拢,与其交接,彼此影响的过程。通过对史料、诗文集相关内容的考辨得出,前七子派初步形成于弘治十六年(1503),以何景明的加入为标志；最终形成于弘治十八年(1505),以徐祯卿的加入为标志。前七子派活动前期,其复古思想的融合主要是在核心人物李梦阳的影响、引导下,通过对早期所习,尤其是对习六朝诗歌的反省与批评,以及与茶陵派分离,对其萎弱流靡之弊进行的反拨,在不断地讨论、磨合下逐渐达成较为统一的诗学主张,确立了“诗必汉魏盛唐”的复古观。到了后期,前七子派复古思想方法论上的尺寸古人由于各人才力不同,把握不当,而失之模拟,其成员为尽力挽救痼疾,或取改良之法,如何景明的“舍筏登岸”；或另辟蹊径,如徐祯卿的“以情立格”。而正德、嘉靖间政局的风云诡谲,士大夫对于现实的失望,又导致了文学复古理想的破灭,王廷相、王九思等前七子派成员纷纷弃文入道,转向心灵寻求栖息之所,与文事分道扬镳。至此,前七子派复古思想不断分化,复古运动也渐趋消歇。第五章研究横向上,李梦阳与同时期关陇诗坛、中州诗坛、吴中诗坛的交往和诗学互动。关陇、中州诗人在与李梦阳亦师亦友的交往中,受其影响,成为复古运动的主力和羽翼。吴中诗人则分为两类,一类以杨循吉、文徵明、祝允明、唐寅等为代表,他们里居吴中,在缘情尚趣、任情自适之外亦致力于古文辞的修习,但取径较宽,反对尺寸古人,强调独抒性情、自立新意；一类以徐祯卿、顾磷、黄省曾等为代表,他们在李梦阳的影响和引导下形成了自己的复古思想,积极投身于复古运动。第六章研究纵向上,明后期各诗歌流派对以李梦阳为首的前七子派复古诗学思想的接受。分为两类,一类是延续复古思潮,与前七子派诗学主张同质同构的嘉靖八才子、后七子、云间诗派；一类是反对复古,与前七子派异构,但在追求“真情”、“真诗”的层面上与李梦阳的“真情说”、“真诗乃在民间”同质的阳明心学和以徐渭、李贽、冯梦龙、公安派、竞陵派等为代表的晚明文学浪漫主义思潮。他们分别从不同角度继承、发扬了以李梦阳为首的恶前七子派的诗学思想。根据以上所论,李梦阳是明代诗风变化的转捩点,于明代诗坛在纵向上起着承上启下的作用,在横向上又具有领导、影响之功。本文有两篇附录,分别是《目验李梦阳著述叙录》和《历代李梦阳传记、墓铭》,以其为研究李梦阳的基础性资料,特附于正文之末,以便翻检。更多还原

【Abstract】 This paper is committed to establish Li Mengyang’s historical position and role, after the author investigate and study the inheritance and reform towards previous poetics and the influence on becoming poets. This paper includes whole line of Ming Dynasty poet history and there are total six chapters in my paper, except Introduction and Conclusion.In chapter1, I introduce a chronicle of Li Mengyang’s lifetime chiefly and investigate inscription of his compiles in Ming and Qing Daynasties, including the views he held. There are mainly three kinds of his compiles, such as Ji, Shi, Zi. In his compiles of Ji, there are13personal books b and12chosen books and7books with comments; in addition, he had two kinds Shi and five kinds of Zi. Besides, he completed many introductions for all kinds of books. His view inflects on three points: impact on Cheng-zhu Confucianism, give up other view but Confucianism and save the world. Therein, the relationship between Li Mengyang’s view and Cheng-zhu Confucianism is first step to study. With the quick development of economics in Ming dynasty, Mengyang turned his focus from Cheng-zhu Confucianism to normal life, gave active support towards personal desire and requirement; those actual views bring strong impact on Cheng-zhu Confucianism. Meanwhile, such view in his compile leads coming literature trend in late Ming Dynasty.Chapter2studies the change of poetic leaders of Hongzhi and Zhengde Poetry Circle through the analysis of the relation between LI Mengyang and LI Dongyhang, and the former’s critical inheritance of the latter. LI Mengyang took LI Dongyang as his teacher, and referred himself as Chaling School Poet. But from the latter part of Hongzhi Period, due to differences in political and literary views, he got further and further away from LI Dongyang; together with the other members of the Former Seven Scholars, he advocated restoration of ancient ways and rose to replace Chaling School in the end. LI Dongyang is the forerunner of LI Mengyang in his poetic thoughts.LI Mengyang carried forward LI Dongyang’s ideas in poetic formal distinctions, Style Theory, and attitudes toward Song Poetry, and probed into these ideas and further developed them theoretically. He thus established initially the theoretic system advocating Restoration practice based on ancient ideals of aesthetic judgement.In chapter3, the author takes the period as research focus when Seven Scholars headed by LI Mengyang advocated Restoration Movement, and studies the development of Poetry Restoration Movement in the former part of Ming Dynasty. The sense of restoration carried through the former part of Ming Dynasty, from Schools of Wuzhong, Yuezhong, Minzhong, Lingnan, Jiangyou requiring for the restoration of Elegance of the Middle Ancient Times to Taige Style (from Yongle Period to Zhengtong Period) praising prosperity as Top priority, then to Chaling School paying attention to the aesthetic quality of poetry and liberating poetry from political dependency, and finally to Former Seven Scholars. Ming Poetry went through an evolution from pursuing quality to pursuing gentle elegance, from passion-pent reasoning to passion-encouraged dereasoning, from purity and elegance to that suiting both refined and popular tastes.Chapter4studies the evolution of Seven Scholars’ poetic thoughts in a dynamic way by illustrating how the Former Seven Scholars came into being, paying special attention to the merging of their restoration ideas at the beginning and their division in the latter period. The formation of the Seven Scholars is a gradual development when members with the same literary ideas got attached to each other, the key of the great cohesive force is LI Mengyang. Therefore, the formation of the Seven Scholars is a process in which the other members gathered round LI Mengyang and influenced each other. From examination and analyses of history files and poetry collections, we can learn that the School of Seven Scholars took shape in16th Year of Hongzhi Period (1505), symbolized by the participation of HE Jingming, and was finally formed in the18th year of Hongzhi Period (1505), symbolized by the participation of XU Zhenqing.In the early stage of Former Seven Scholar, the integration of the restoration ideas was mainly influenced and guided by LI Mengyang. Through critical review of his early learning, especially the poetry of the Six Dynasties, his division with the Chaling School, and his refuting of its weak and extravagant manner, LI Mengyang and his partners gradually developed a uniform idea, thus founding the Restoration View that Poetry should be like that of Han, Wei, and Tang Dynasties.Till the latter period, due to differences in talents and the handling of Restoration methods, Former Seven Scholars got divided.In order to save its deep-rooted shortcomings, it members tried all out; HE Jingming advocated "Forsake the boat to get ashore", while XU Zhenqing adovated "Set up Format with passion".In Zhengde and Jiajing Period, the changeable politics and literati and officialdom’s disappointment led to the fall of restoration ideals. Members like WANG Tingxiang and WANG Jiusi abandoned literature to take part in Taoism one after another, to seek rest in the depth of the heart, and quit association with literature. So far, the restoration ideas of the Seven Scholars gradually broke up and Restoration Movement came to a rest.Chapter5studies horizontally the interaction of LI Mengyang and Guanglong Poetry Circle, Zhongzhou Poetry Circle, and Wuzhong Poetry Circle at the same period. Guanzhong poets and Zhongzhou poets, regarding LI Mengyang as both a teacher and a friend, were influenced by him and became the main strength and supports of Restoration Movement. Wuzhong Poets fall into two classes, one is represented by YANG Xunji, WENZhengming, ZHU Yunming, and TANG Yin, who lived in Wuzhong,dedicated in study of ancient classics besides pursuing self interests and leisure. But they were more open-minded and opposed to writing by measuring the ancient poets and emphasizing expression of personal feelings and original ideas. The other class is represented by XU Zhenqing, GU Lin, HUANG Xingzeng, who, influenced and guided by LI Mengyang, developed their own Restoration ideas and actively involved in Restoration Movement.Chapter6studies vertically the acceptance of Former Seven Scholars’ Restoration ideas headed by LI Mengyang by various poetic schools in the latter part of Ming Dynasty. There are two classifications. One class, with the same texture and structure as Former Seven Scholars, carries forward the Restoration ideas, represented by Eight Talents of Jiajing Period, Latter Seven Scholars, Yunjian Poetry Circle. The other is opposed to restoration ideas, different from Former Seven Scholars in structure, but similar in quality to LI Mengyang’s True Feeling Study and True Poetry is in Common Life in its sphere of pursuing True Feeling and True Poetry, represented by Yangmingxin Study and Late Ming Dynasty Romanticism advocated by XU Wei, LI zhi, FENG Menglong, Gongan School and Jingling School. They developed Former Seven Scholars’ poetic ideas headed by LI Menglong from different angles.To sum up, LI Mengyang is the turning point of poetic development of Ming Dynasty, and plays a linking role vertically and a leading and influential role horizontally.This paper has two appendixes, namely A Close Study of LI Mengyang’s Works and LI Mengyang’s Biographies and Epitaphs throughout History. They are the basic materials to study LI Mengyang, and therefore put at the end of the paper, for the convenience of reading.更多还原