李梦阳辞赋散文研究

【作者】 陈飞；

【导师】 黄仁生；

【作者基本信息】 复旦大学 ， 中国古代文学， 2009， 硕士

【摘要】 李梦阳是明代中叶的重要作家,以他为首发起的文学复古运动,倡言兴复古学,并以此对抗靡弱的台阁体与重性理的性气诗,天下响应,有明一代文体为之丕变。此后,虽然李攀龙、王世贞等代兴,公安派、竟陵派等特起,但李梦阳一直稳为文坛霸主,而且,对他的学习和争论还一直延续到了清代。由此可见其影响之巨大与深远。迨至今日,李梦阳的文学理论问题已被讨论得相当深、广,其“复古”旗帜下追求“真情”和“真人”的美学内涵已日益深入人心；然而,对于其实际创作的研究则相对滞后得多,至今尚无一本研究其诗歌、辞赋或者散文创作的专著面市。有鉴于此,本文拟以文本细读的方式来探讨李梦阳辞赋和散文(尤其是碑志文和序记文)创作的实际情况和所取得的成就,并在此基础上探讨与他相关的文学理论,如“唐无赋”、“文必秦汉”等的真正内涵。全文分三章。第一章为李梦阳辞赋研究,着重在全面和细致地分析李梦阳全部赋作的基础上,描画出其赋作的整体面貌,并探讨其赋作与其文学理论的契合程度。第一节主要介绍李梦阳辞赋的创作概况。首先把李梦阳的赋作分成逞辞大赋、骚体赋、诗体赋和骈体赋四大类,并把六篇赋体杂文也分列其中；接着对李梦阳各赋的创作时间和题材进行了尽可能的考察,指出李梦阳的辞赋创作在同侪之中不仅数量众多,而且题材也相当广泛；其辞赋创作贯穿了一生,从刚入仕为官的弘治十一年(1498)一直到逝世时的嘉靖八年(1528),且主要集中在正德三年到九年,而这正是李梦阳仕宦生涯的最后一段岁月。第二节主要是按逞辞大赋、骚体赋、诗体赋和骈体赋的先后顺序来分类考察李梦阳赋作内容上的继承与趋新,从而指出其赋作学习汉赋处相对较少,他更多地是“祖骚”；其诗体赋创作也大都不同于一般意义的诗体赋而有一些新的特点；其骈体赋创作占辞赋总数的四分之一强,有力地证明了“唐无赋”的内涵之一就是唐及唐以后的所有赋作李梦阳一概吐弃。第三节主要探讨李梦阳赋作的抒情特色,指出李梦阳的赋作有极强烈的抒情意味,而且以哀怨忧伤为主、慷慨愤激为辅,主要的抒情方式为深沉婉转和直抒胸臆。第四节在明确李梦阳把“赋”与“骚”划归“诗”的范畴的基础上,将李梦阳的诗论与辞赋作品结合起来,探讨其辞赋创作的艺术特点,如句式的新变、语言的古奥等。第二章为李梦阳碑志文研究,着重对李梦阳的碑文和墓志铭(传、行实、祭文三类也适当纳入)进行较深入的探讨。第一节为李梦阳的散文理论。鉴于目前学界对李梦阳散文理论研究的不够重视和深入,从散文本体观、功用观等几个方面相对系统地勾勒了李梦阳的散文理论。第二节主要探讨了其碑志文的三大主题取向,即对家人和亲友的深切悼念,悲士不遇,以及李梦阳对“理欲同行而异情”视角下的商人风貌的刻画。并特别指出,在李梦阳看来,商人其实是一种形象,是其“理欲同行而异情”理论视角下“天理”和“情欲”相互牵制,并折衷调和的一种具体表现和符号。“天理”和“情欲”第三节主要以“感动读者的程度”为标准来衡量李梦阳碑志文的情感力量,并指出其有激切和抑郁两大情感特色。特别是后者,向为论者所忽视。第四节主要是从理论和碑志文创作实际两方面来对“文必秦汉”说进行商榷,指出以“文必秦汉”说为李梦阳的散文复古口号是错误的,他的碑志文中有不少取法魏晋骈文和唐代韩愈处,而从他的部分记文中甚至可见到沾染宋人记文写作习气处。此外,从其碑志来看,李梦阳古文创作不仅努力学习史传,而且向汉赋也多有借鉴。第三章为李梦阳序记文研究,着重对李梦阳的书体文、序文和记文进行较深入的探讨。第一节为空同书序文研究。本节在简要分析了李梦阳的书体文、诗文集序之后,重点探讨了其赠序文,并揭示了它积极论议时政的主题取向,悲士不遇的情感内核,以及沉郁的情感特质。最后,从四个方面探讨了空同序体文的论议特点。第二节为空同记文研究。本节主要分两个部分,第一部分为楼台亭记文。该体文章是空同记文的最大组成部分,而且内容也相当驳杂。我们重点考查了李梦阳记文创作简洁、明秀的一面,接着强调了其部分记文“专尚议论”的特点,以及这与宋代记文的关系。第二部分为游记。游记是李梦阳为文“力追秦汉”的很好的佐证,同时也显示了他高超的叙事能力与极精炼的用字造语能力。结语部分对全文进行了适当总结。更多还原

【Abstract】 Li Mengyang is one of important authors in the middle of Ming Dynasty, the Movement of Revival of Ancient literature he started as a leader, which advocated the return to Ancient literature and had been contrasted with languid Tai ge style and Xing qi Style with emphasis on ethnics, had found an echo in many contemporary authors and made a thorough lift on the literary style of Ming Dynasty. Later, many other famous authors and schools appear, such as Li Panlong、Wang Shizhen etc. and Gong an school、Jing lin school etc., but his position as the leader of the contemporary literary field had not been changed, and the study on him had lasted until Qing Dynasty. So his great influence could been seen here. Until now, his literary theory has been discussed thoroughly, its aesthetic connotation "true feelings""true nature" has beed accepted widely; however, the study on his works is not enough by contrast, so far there hasn’t been any monograph on his Fu and essays in the field. Therefore, My research will primarily focus on his poems、all pieces of Fu or essays (especially epigraphs and Xu Ji Wen) by text intensive-reading, and his relevant literary theory will also be analysed based on that, such as the connotation of "No Fu in Tang"、"Only Essay in Qin and Han"etc.There are three chapters in my paper.The first chapter focuses on Li Mengyang Fu.On the basis of the comprehensive analysis on all pieces of his Fu, its whole survey will be given, and the conformity between his Fu and literary theory also will be discussed. And the survey of his works will be introduced in first subdivision of the chapter. Here his Fu is divided into four parts:Rhetoric Fu、Sao Fu、Poetic Fu and Pian Fu,which six pieces of essays in Fu style also have been put into; then,their writing time and themes have been given as much as possible, and the great amount and comprehensive themes of his Fu have also been pointed out.In his lifetime he hasn’t stopped his writing,especially on Fu, from the 11th year in reign title of Hongzhi (1498) in which he just became an official to the 8th year in reign title of Jiajing (1528) when he died, and the writing time primarily centered on the period,3rd-9th in reign title of Zhengde, which is also the last period of his official time.In second subdivision there is an analysis on the inheritance and development of the contents of his Fu based on the four parts mentioned above,then it will be concluded that Li Mengyang learned more from Sao than Han Fu. And his writing of Poetic Fu has its own characteristics, which are distinguished from other Poetic Fu; and it is indicated that his literary theory "No Fu in Tang" means he spurned all pieces of Fu after Tang (including Tang) by the fact that the rate of the amount of his Pian Fu in his Fu is more than 25 percent.The third subdivision is to introduce the lyrical features of his pieces of Fu. It points out that hishis pieces of Fu are lyrical, the feelings of his most works is usually sorrow, sometimes indignant, and there are mainly 2 ways of feelings-expression in his works: deep and indirect expression and direct feelings-expression.In the fourth subdivision, the artistic characters of his Fu will be analysed, such as innovation of sentence and the archaic and abstruse language etc., based on Li’s division that Fu and Sao belong to poetry and by the relation between his poetics and Fu.The second chapter is a detailed enquiry into the epitaphs by Li Mengyang (also some biographies and elegies). The first section deals with Li’s essay theories. As the current academic studies into Li’s essay theories have not been adequate and deep enough, this section outlines them systematically in terms of essay aesthetics and from other points of view. The second section discusses the three major thematic features of epitaphs by Li, viz. the deep mourning for family and friends, the indignation at being unfairly discarded for all the talents one possesses, and the delineation of merchants from the angle of "identical conducts vs. contrastive sentiments of reason and emotion". And specially point out, in Li mengyang’s opinion, businessman actually is one king of image or embodiment of compromise of "identical conducts vs. contrastive sentiments of reason and emotion". Section 3 measures the emotional quality of Li’s epitaphs with the standard "the extent to which readers are moved ", and points out that there are two emotional features, i.e. vehemency and melancholy to it. The second feature, melancholy, is often overlooked by scholars. The fourth section discusses the theory that Li "follows only Qin and Han literary traditions ". In fact, the theory is fallible in that it is wrong to hold "Qin and Han traditions only " as the banner of the neoclassical movement in essay writing that Li champions. Li’s explicit criticism points only to some Song-dynasty essays and no others, while quite some of his epitaphs bear traces of his learnings from Wei and Jin Dynasty,and Han Yu.In the third chapter, there is Li mengyang’s study of Xu Ji Wen, in which Li mengyang’s letter,preface and narration has been put emphasis on. In the first part it is the study of Kong Tong’s preface. Here Li Mengyang’s prefaces to his collection of poems have been simply analysed, and his gift prefaces have been studied in detail, and its tendency of themes that are about discussion of current affairs, the indignation at being unfairly discarded for all the talents one possesses and feelings’ characteristics of depression also has been disclosed.Finally, the features of Kong Tong’s prefaces has been given in four aspects.In the second part it is the study of Kong Tong’s narrations. It has been divided into two. Firstly, it is Lou Tai Ting narration, which is the most important part of Kong Tong’s narrations,and its content is a mix. The characteristics of Li mengyang’s narration style, like terseness and brightness, have been firstly discussed, then the feature——the emphasis on argument and its relation with Song narration have been given.; secondly, it is travels, it is the best evidence for Li mengyang’s efforts to pursue examples like Qin and Han essays and his excellent skills of narration and word-selection.At last, there is a conclusion to summarize my paper.更多还原