清代格调论诗学研究

【作者】 王顺贵；

【导师】 陈伯海；

【作者基本信息】 上海师范大学 ， 中国古代文学， 2004， 博士

【摘要】 清代格调论是格调论诗学的集成和总结。相较于明代格调论，清代格调论的研究尤显单薄与不足。本文试图通过对清代格调论发展衍变的历史轨迹作出较为系统的学术梳理，以见出清代格调论是如何在克服明代格调论的弊病并吸收其合理内核的基础上进一步发展与完善的。 《导言》：清代格调论研究的历史、现状及意义。辨析了清代格调论诗学研究薄弱的主要原因及其研究的局限，从而揭示出清代格调论诗学研究的意义与价值所在。 第一章《清代格调论的发轫》：时代变革下，清初格调论的孕育发展。清初格调论所关注的焦点：尊诗教、重人格、主性情、扬才情、标声调与追求目标——拟议与变化，初步进行救治明代格调论所出现的弊端，为清代格调论的集成作了重要的铺垫作用，但明代格调论的矛盾并未得到完善的解决。 第二章《清代格调论的集成——沈德潜的诗学观》：以沈德潜为研究的主体，论述了沈德潜格调论诗学体系主要内容：诗教为本，乐教为用；性情为本，人格先于诗格；拟议与变化；沟通神韵、性灵与折中融通的理论旨趣；格调观念下的唐宋诗格论等，体现出一种集成性的特色，并破解了明代格调论所遗留的许多矛盾与问题。沈德潜格调论诗学体系的缺陷及其在清代的接受，揭橥了沈德潜的格调论诗学与其它诗学思潮的互动关系。 第三章《沈德潜的同调——清盛期其他格调论者》：着重辨析了薛雪、李重华、乔亿、黄子云、潘德舆等格调论诗学观与沈德潜的异同，旨在说明沈德潜的同调是如何进一步丰富与发展清代格调论诗学的，同时指出其局限，清代格调论诗学的丰富完整性得以完全呈现。 第四章《清代格调论的嗣响》：论述了刘熙载、朱庭珍、王闿运的格调论诗学观，说明“宋诗运动”的兴起，促使诗坛兴趣的转移；当新的观念和思潮涌入诗学领域时，格调论诗学已不可避免地走到它生命的极限。 《结语》：格调论诗学在清代的进一步发展；清代格调论诗学的局限；清代格调论诗学研究的当代意义。更多还原

【Abstract】 The Qing dynasty’s pattern theory of poetics is an integration and summarize about Chinese traditional pattern poetics. But the research work on the theory is weaker and more insufficiency than on Ming dynasty’s. This thesis tries to make a general study and academic pectination on the theory’s development and it’s history contrail to exhibit how the pattern theory overcame the disadvantage of Ming dynasty’s and absorbed it’s reason kernel to develop and get more consummate.The introduction introduces the history, actual and significance of the research work on the Qing dynasty’s pattern theory of poetics.After that is the first chapter which gives an opinion about the beginning of the Qing dynasty’s pattern theory of poetics: the pattern theory’s gestation and development in the Early Qing dynasty under the background of time’s transformation. The focus of pattern theory in this time: respecting the poem education, paying attention to personality, claiming disposition, raising talent, pointing out the tone and meter. It’s target is discussion and change. This lay an important foundation for the integration of Qing dynasty’s pattern theory of poetics.The second chapter is the intergration of Qing dynasty’s pattern theory-Shen deqian’s view of poetics. The subject of this chapter is Shen deqian, whose poetics system of pattern theory was as below: the poem education was the fundamentally, the music education was the function, disposition was the fundamentally, personality was more advanced than poem metre, simulation, argumentum and changing, the theory purport of communicating verve, disposition and splitting the difference, his poetics of Tang and Song dynasties influenced by his pattern theory view, and so on. Another subject is about Shen’s pattern theory system’s limitation and it’s history of reception in Qing dynasty.The third chapter is on Shen deqian’s comrades of poetic theory-other pattern theorist in Middle Qing dynasty. In this chapter, the author pays attention to discriminate some of the theorist of pattern such as Xue xue, Li chonghua, Qiao yi, Huang ziyun, Pan deyu, their theory’s similarities and differences with Shen’s, aiming to illuminate how Shen’s comrades enriched and expanded Qing dynasty’s pattern theory of poetics, while pointing out their limitation.The forth chapter is the epilogue of Qing dynasty’s pattern theory of poetics, where the author discusses some of the poetics views on pattern theory of Liu xizai, Zhu tingzhen, Wang kaiyun, etc. tries to explain how the rising of "Song Poetry movement" transferred the interest of poetry Parnassus, and brought the pattern theory to its terminal stage.The epilogue of this thesis is on three aspects: the progress of pattern theory of poetics in Qing dynasty, the limitation of Qing dynasty’s pattern theory of poetics and its significance in modern times.更多还原