唐诗与宋代诗学

【作者】 王园；

【导师】 张毅；

【作者基本信息】 南开大学 ， 中国文学思想史， 2009， 博士

【摘要】 在宋代诗学发生、发展的不同历史阶段,唐诗产生过非常重要的作用,一方面,宋代诗人在创作中不断借鉴吸收唐诗的艺术经验,以调整宋诗的发展走向;另一方面,蕴涵于宋人诗话、笔记、书信和序跋,以及众多唐诗选本中的有关唐诗的看法,也是构成宋代诗学理论体系的重要组成部分。二者共同促进了宋代诗学的发展,反映出宋代诗学思想核心价值观念的变迁,通过对唐诗诸家诸派的选择接受和效法,宋代诗人创造出了有别于唐音的另外一种诗歌范式。宋初诗坛沿袭中晚唐遗风。太宗朝编纂的大型类书《文苑英华》,通过对唐代山水清音的大量选录,集中反映了宋初清淡闲远的诗美追求;选家对初唐宫廷应制诗的偏爱也在一定程度上透露出真宗朝审美风尚变迁的内在理路。在诗歌创作领域,宋初诗人或企慕白居易与刘禹锡之间往来酬和的闲适篇什,或取法晚唐贾岛、方干孤峭寒涩一派的苦吟之法,或模仿晚唐清丽平易一脉的流利纤秾。西崑派特出于诗坛之上后,用典繁缛、藻饰华美的李商隐诗,遂成为真宗朝最受推重的诗学楷范。北宋中期的社会危机,激发了知识分子的济世热情和使命意识,创作主体的内在精神得到极大的充实,以李白和韩孟为榜样的古体诗创作,成为这一时期最为流行的诗体。杜甫新乐府诗歌的写实追求和批判现实的讽喻精神,也成为北宋中期诗歌创作的一种范本。随着对杜甫诗法以及中唐诗学重意倾向的认识的不断深入,梅尧臣和王安石在理论概括和创作实践上,完成了对“平淡”这一宋调独特美学品格的探索,而王安石的《唐百家诗选》,则在整体上总结了唐诗在北宋中期诗学发展过程中所起的示范作用。元祐诗坛承袭北宋初年以来诗歌发展的走向,杜甫至高无上的诗学地位,随着江西诗派的形成而得到了稳固。黄庭坚独取老杜夔州以后诗,其山谷体由效法杜诗的字句、篇章、用典、声调之法,进而企慕其无法之境;后山体着重仿效杜甫五古朴拙真挚的一面,形成五律峭涩瘦硬而质朴的风格;简斋体则转学老杜雄浑劲健之气格与体物缘情之精工,对江西诗人的学杜作了有益的补充和调整。这反映出南渡前后江西诗派效法老杜的整体风貌和内在差异,也预示了后江西时代南宋诗学的发展走向。此一时期大量涌现的诗话著作,也成为学杜宗杜的理论载体,对杜甫的人格、诗格和诗法等问题进行了探讨。南渡之后,吕本中等人对于江西诗法的调整和思考,在范成大、杨万里、陆游等中兴大家的创作中得到了最终的落实,求“活法”于唐人律绝,成为一种时代性的诗学诉求。洪迈的《万首唐人绝句》与二泉的《唐诗绝句》两部唐诗选集应运而生,一者以庞大的体制选目,对唐代绝句加以收集整理;一者以精心用意的选本批评,为时人提供诗歌创作的立意之法。四灵和江湖诗人,将贾岛作为矫正晚唐体流易疏阔之弊的不二法门,试图通过姚贾而上达大历诸子与盛唐王孟。赵师秀的《众妙集》便是这一诗学思想的集中体现。李龏的《唐僧弘秀集》,是江湖诗派五律取法姚贾承袭四灵的明证,而周弼的《三体唐诗》,则是对江湖诗人效法唐律而别开生面的创作倾向的一次诗学总结。从整体上看,对唐诗山水清音的接受和对杜甫诗法的仿效,是宋人学习唐诗的两条基本路径。前者经由宋初的白体、晚唐体,至宛陵体、半山体而初具规模,到了苏、黄手中,其经典性的理论概括和创作范式最终定型。杜甫诗歌在宋代的接受,经历了由崇尚杜诗气格到标举老杜诗法的转变,并最终在奉老杜为诗学宗主的江西诗派那里形成了“以文字为诗,以才学为诗,以议论为诗”宋调典范。针对唐诗对宋代诗歌发展影响的创作实际,以严羽、刘克庄、范晞文、魏庆之为代表的诗论家们,在南宋末年对宋诗学进行了一种折中化的探索和考量,或是标举盛唐以调和王孟与老杜,或是拈出“情性”而提倡融液众家,或是以贾岛作为清美唐音与杜甫诗法的交汇点,以实现平淡诗风与江西诗学法度的结合。更多还原

【Abstract】 During the process of studying Tang, the poet of Song Dynasty gradually fought a new mode to create, which is different from Tang. And in the course of its development, the experience of Tang poetry adjusted and corrected their attempt at poetry. On the other hand, the thought of Tang poetry which is contained in the Song Dynasty poetry, poetics, notes, the correspondence between writers, preface and postscript, as well as numerous anthologies of Tang poetry, is also a part of the theory of the Song Poetry system.Early Song inherited the style of the Late Tang poetry. The poet in this period liked the delicate style, so they selected lots of Tang poetries of this kind in a large-type book Wenyuanyinghua. They also selected a large number of imperial poetry of the early Tang dynasty, which prefered the changing trend and the aesthetic inner logic of the poetry system in the early Song Dynasty. In the field of poetry, some poets choose to study Bai Juyi’s poetry, and strived to follow the example of the correspondence between Liu Yuxi and Bai Juyi .The other studied Jia Dao, Fang Gan and Yao He, or imitated the easy, fluent style of late Tang Dynasty. Xikun poet choose Li Shangyin to study the color tones and the method of creation. Then Li Shangyin became the most popular poetic model of Zhenzong times.Social crisis of the mid-Northern Song Dynasty greatly stimulated the writers’ enthusiasm and mission. The spirit and the style of Li Bai’s poetry and Han-Meng school was accepted by the poet, and became the most popular paradigm in this period. The critical allegory and the spirit of reality of Du Fu’s New Yuefu pursuit had become the unique perspective of Du Fu’s acceptance in mid-Northern Song Dynasty. During the process of learning the method of Du Fu’s poetry and the mid-Tang Dynasty poet, Wang Anshi and Mei Yaochen combined delicate style of Tang poetry and the method of creation, to summarize a general idea of Song poetry in the theoretical and creative practice, which is a unique character of Song poetry. Wang Anshi’ Tangbaijiashixuan comprehensively generalized the development context of the mid-Northern Song Dynasty Poetics.Yuanyou times inherited the inner logic development trend of poetry creation since the early years of the Northern Song Dynasty, the supremacy of Du Fu’s poetry had been continuously consolidated during the School of Jiangxi formed and developed. As the ancestor of Jiangxi school, Huang Tingjian learned the methods in chapter, the code, the act tone from Du Fu’s poetry, and also want to pursue his natural attainment.Chen Shidao followed the example of Du Fu’s Wugu and Wulv, studied his thin and stiff style and sincere, cordial expression. Chen Yuyi inherited the majestic and magnificent features from Du Fu, and simulated him to describe scenery ingeniously. The three poets studied Du Fu from three different angles. And during this period, there were a large number of books of poetry, which summarized Du Fu’s character and personality, the artistic features of Du’s poetry.After Nandu, Jiangxi school began to reflect and adjust their poetics. Fan Chengda, Yang Wanli, Lu You practiced the thinking of Jiangxi school to create Qilv and Qijue,"huofa"became a poetics requirements of the times.Hongmai compiled Wangshoutangrenjueju,to collect Queju of Tang Dynasty to maximum. Hanhu and Zhaofan compiled Tangshijueju to tell those who studied poetry how to creat poetry. Ye Shi and Yongjiasiling began to imitate Jia Dao and Yao He to adjust Fan Chengda, Yang Wanli, Lu You’s poetry style, and wanted to follow Dali poet and Wang Wei, Meng Haoran.Zhao Shixiu’s Zhongmiaoji and Li Long’s Tangsenghongxiuji conveyed the poetics trend of Siling and Jianghu schools. In addition to study Jia Dao and Yao He,Jianghu school followed Xu Hun to create Qilv, Zhou Bi’Santitangshi summarized and responded this poetics trend.Overall, there were two paths to study Tang poetry: first, Song poet choose the delicate style of Tang poetry to follow, they studied Bai Juyi and Jia Dao in early Song, pursued delicate aesthetic style in mid-Song, and during Yuanyou times, Su Shi and Huang Tingjian finalized it in creation and theoretical generalization. Secondly, poet studied Du Fu’s poetry from appreciating its magnificent momentum to studing its strict methods in poetry creation. According to the two basic paths of the development of the Song Dynasty poetry, Yan Yu, Liu Kezhuang, Fan Xiwen, Wei Qingzhi created four poetics works to summarize the process of Song poetry, and construct the system of Tang’s poetics.更多还原