【作者】 康建强；

【导师】 康金声；

【作者基本信息】 山西大学 ， 中国古代文学， 2003， 硕士

【摘要】 中古诗歌从东晋枯淡的玄言诗向萧齐流畅自然的永明体诗的过渡，从魏晋的“雅”向齐梁的“俗”的过渡，发生在刘宋时期。这一时期又可分为两个阶段，元嘉时期和大明、泰始时期。元嘉三十年则有承前启后的作用，大明、泰始时期正可看作元嘉后期诗风之继续与发展。 元嘉前期分别以谢灵运、颜延之为代表，呈现出若干诗风并存的局面：典雅一派，山水一派。山水诗作，以谢灵运为代表，典雅诗作以颜延之为代表，二者在艺术追求上却有许多不谋而合之处：追求摹写外物形似，词语的生新，诗歌意象的分散支离——总之在整体上讲，元嘉前期诗歌是以恢复西晋诗歌传统为主，其他诗风为辅，它更多属于承前一面。 元嘉后期，在继承前期的基础上有了许多新变，诗坛以鲍照、颜延之为代表。颜延之由于人生遭际不偶，创作出了不同于前期的诗作，而鲍则由于出身孤寒，从不同侧面反映出那个时代由贫寒之士向上爬升的过程中所显示的复杂的精神世界。元嘉后期不仅在诗歌精神上变革了前期的颓势，在艺术追求上也出现了许多新的倾向，而这些倾向则经过大明、泰始的发展，最终演变为永明诗体。这些新的艺术追求包括：篇幅日益短小精悍，语言渐趋自然(与生新对)，意象逐渐统一完善，音节逐渐流畅。但前后期有一相通处即是极为重视诗歌对具体物象摹写的功能。本文在分析这些变化的基础上，又进而试图从社会变迁影响诗人命运(而诗人则直接影响诗歌)这个角度，阐释元嘉诗风演变的深层原因。更多还原

【Abstract】 Transitions from the dry and abstract metaphysical poetic style in East Jin Dynasty to the smooth and natural Yong Ming poetic style in Nan Qi dynasty; from the "elegant" style in Wei and Jing Dynasties to the "secular" style in Qi and Liang dynasties, took place in Liu and Song dynasties, which can be divided into two phases: Yuan Jia phase and Da Ming, Tai Shi phase. The 30th year of Yuan Jia serves as a link between past and future; and Da Ming, Tai Shi can then be viewed as the continuation and development of the poetic style of the late stage of Yuan Jia.The early stage of Yuan Jia, represented by Xie Lingyun, Yan Yanzhi, has a couple of poetic styles coexisted: the elegant style and the style of mountains and waters. Xie Lingyun represents the style of mountains and waters and Yan Yanzhi represents the elegant style. The two however has quite a number of points in common in terms of artistic pursuits: the pursuit of depicting the similarities of different objects, poetic creativities, the decentralization and fragmentation of poetic images, .in general, the poems in the early stage of Yuan Jia mainly aim to restore the poetic traditions of Xi Jin dynasty and as supplementary, reflect other poetic styles as well. So these poems are more likely to inherit the past.In the late stage of Yuan Jia, many new poetic changes occurred while the previous style was followed. Tha eminent poets then are Pao Zhao and Yan Yanzni. Yan Yanzhi, due to mishaps in his late life, created some poems different from his early life in style. Pao Zhao, born in a poor family, writes more about the complicated psychological world of the poor scholars climbing up the social ladders. In the late stage of Yuan Jia, the decadent poetic spirit of the early times has been reversed and many new tendencies appear in artistic pursuit. These tendencies, having been developed in Da Ming and Tai Shi, eventually evolved into Yong Ming poetic style. Those new artistic pursuits include: poetic length getting shorter and terser, poetic language getting natural (compared with the stiff and strange language), poetic images getting united and completed, poetic syllables getting fluent and smooth. There is however a common feature between the early and late stages, i.e. the emphasizing in poetic representation of the actual objects. With the analyses of those changes, the paper elaborates the deep reasons of the transitions of Yuan Jia poetic style from the perspective of a poet’s life being influenced by social changes.更多还原