【作者】 徐凯；

【导师】 张一平；

【作者基本信息】 温州大学 ， 文艺学， 2011， 硕士

【摘要】 宋代诗歌在中国古典诗歌漫长的发展历史中堪称独树一帜,这与宋诗论的发展和创新密不可分。正是在创新诗论的指导下,诗歌创作走出了一条迥异于唐代诗歌的自我创新之路。北宋仁宗明道年间,随着“经世致用”思潮的兴起,诗文革新运动应运而生。梅尧臣、苏轼、黄庭坚等诗坛名家以此为契机,在欧阳修的大力倡导下,先后经历了“尊韩”、“慕陶”、“宗杜”三个阶段,最终形成了超越“唐音”审美范型的“宋调”。它是以梅尧臣的“平淡”诗风为起点,以苏轼、黄庭坚的诗歌创作高峰为标志,以“比律吕而可歌,列干羽而可舞”为诗歌理想风格。诗歌是语言的艺术,体现诗歌整体精神风貌的风格发生转变必然引起诗歌语言的相应变化。自宋初以来,多种诗歌语言风格共存的现状为诗歌语言的转变提供了丰富的养料,同时也增加了改造的难度。梅尧臣、黄庭坚等有志于开拓诗歌新路的诗人对诗歌语言形式尤其关注,他们不是仅凭着自己的才学天分任性挥洒,而是努力探索诗歌语言的发展规律并认真总结提升为理论。这使宋诗在理论上得以填补空白,并进一步应用于指导诗歌创作实践。由此,奠定了宋诗形式技巧创造的基础,对此后江西诗派诗歌创作特色的形成产生了深远的影响。由吕本中著《江西诗社宗派图》而得名的“江西诗派”,在北宋末南宋初诗坛产生了巨大影响。但是,其后学却忽略了黄庭坚“句法”理论的创新精神,墨守“成法”最终成为“死法”。首先在理论上对黄庭坚诗论创新精神进行全面充分阐释以期纠正后学之弊的是吕本中。紧接着,陆游、杨万里等“入于江西”而“不出江西”的大诗人以更为宽广的理论视野,对吕本中所提出的“活法”理论进行了丰富和提高,并在诗歌创作中取得了显著实绩。最终形成了以“诚斋体”为代表的诗歌典范。南宋中后期,江西末流仍是积弊难除,这成为以“四灵”及江湖诗派为代表的诗坛中坚标举“晚唐体”的发端。随后,同为江湖诗派理论家的严羽更提出“以盛唐为法”,宋末元初诗论家方回则在支持严羽观点的前提下,重新强调了江西诗论的重要价值。他们多尝试将几种不同审美范型的古典诗歌进行融合,从而提出一种崭新的理想诗境。儒学的复兴、发展和文化上的集大成意识成为宋诗论自立创新的两个重要条件。其一,宋诗的变革不同于唐诗从“缘情”的特点出发,它是站在政教功用的立场上以“气格”为诗。其二,宋人文化上的集大成意识也促使诗人艺术人格精神的形成与完善,从而构成了“宋诗’的艺术特质。以苏、黄为代表的典型宋诗就是由技艺间事转入治心养气的人格修养,在重视主体内在心性的体认和反省基础上,创作出理想的诗歌作品来的。通过对宋诗论形成发展过程中出现的四次主要“异变”所做的深入探讨,可以从中看到宋诗论形成发展过程中的深层规律所在：其一,儒释道三种文化发展到宋代最终合流,但是它们对宋诗论形成发展的影响却各有侧重,并非完全融合。其二,宋代诗人有意识地积极吸收消化历代文化知识,特别是诗歌语言、创作技法的丰富遗产,这在诗歌形式技法的改造过程中发挥了巨大而深远的作用。其三,宋诗论重意理识而轻情景物,但两者并不是截然分开的,它们在诗歌审美结构中处于动态的有机融合之中。其四,“以故为新”的诗歌理论不仅是江西诗派的指导思想,也是整个宋代诗歌理论的精髓,其中贯穿着复古主义的红线。本文在“审美异变”的角度上对宋诗论展开深入具体的研究,各章内容安排如下：第一章,平淡诗风之异变；第二章,刻琢诗技之异变；第三章,圆活诗思之异变；第四章,玲珑诗境之异变。诗风、诗技、诗思、诗境这四个主要方面的“异变”各自独立又彼此联系,平淡诗风处于中心的位置,其它三者在以波浪式向前发展丰富提高的同时,始终保持了平淡诗风的特点。由此,全文提纲挈领地勾勒出一个清晰的宋诗论体系,并呈现出鲜明的宋诗论特质。更多还原

【Abstract】 The poetry of Song Dynasty is unparalleled in the development of Chinese classical poems, which is closely connected with the development and creation of poetry theories in Song Dynasty. It is the creative theories of poems that lead the writing of poems to a new way of creation that is different from the poems of prosperous period in Tang Dynasty.During the domination of Northern Song Emperor Zhaozhen, the reforming movement of poems followed along with the National Administration and Political Reform thought. Inspired by OuYangxiu, many famous poets such as Mei Yaochen, Su Shi and Huang Tingjian created "the Poetry of Song Dynasty" which was beyond the aesthetic paradigm of Tang Dynasty. The development is divided into three periods called "the period of respecting of Han Yu" and "the period of modeling Du Fu" and "the period of admiring of Tao Yuanming". "Plain style" by Mei YaoChen was treated as starting-point of "the Poetry of Song Dynasty", and in the end, it reached the peak of poems represented by the works of some great poets such as Su Shi and Huang Tingjian, and were typical of metrical pattern of Chinese poetry. Poetry is the; art of language, and the variation of the style would lead to the corresponding variation of the language. The coexisting poetic styles since the beginning of Song Dynasty provided abundant nourishment as well as the difficulty of reformation. The famous poets such as Mei Yaochen and Huang Tingjian were devoted to seeking new developing ways of poetry, and they paid more attention to the language patterns of poetry for exploring the developing laws of poetic language, which was theorized systematically by them, and the result of their creation instructed the creative practice of poetry besides filling up a gap of literary theory, and this therefore laid the foundation of the linguistic techniques of poems in Song Dynasty, which exerted great influence on the formation of " Jiang Xi School of Poetry"."Jiang Xi School of Poetry" named after the the Family Tree of JiangXi School of Poetry by Lu Benzhong, and it influenced the poetry of the beginning of Northern Song and the end of Southern Song. But its precedents ignored the innovation of syntax by Huang Tingjian and on the contrary they obeyed the rules stubbornly and these conditions led to its lifelessness. Lu Benzhong was the first person who enunciated the theories of Huang Tingjian thoroughly in order to put the subsequent theories right, and then the devoted members of "Jiang Xi School of Poetry" such as Lu You and Yang Wanli enriched and reformed the flexible theory of poetry by Lu Benzhong, and made great achievements in creative practice and ultimately formed the poetic model presented by "Cheng Zhai Style" (styled by Yang Wanli). In the later part of Southern Song, it was so difficult to get rid of so many abuses that these chaotic conditions evoked the beginning of "the Style of Late Tang" which is praised by the backbone characters presented by the later theorists especially "the Four Great Poets in Yong Jia"(the four disciples of Ye Shi) and "the Group of Wandering poets". Yan Yu advocated that the creation of poetry should follow the style of prosperous Tang Dynasty, and the poetry critic Fang Hui living between the end of Song Dynasty and the beginning of Yuan Dynasty laid stress on the value of the theories of "Jiang Xi School of Poetry" based on the support for Yan Yu. They tried to fuse varied poetic paradigm of several kinds of aesthetic standards and then brought forward an ideal poetic aesthetic space.The revival and development of Confucianism as well as the consciousness of inheriting cultural heritages are the two important conditions for the creation of poetic theories in Song Dynasty. Firstly, the innovation of Song poetry was different from the emotional foundation of the poetry of Tang Dynasty, and it was based on personality for political education; secondly, the consciousness of inheriting cultural heritages promoted the formation and perfection of poets’artistic personality and formed the artistic character of Song poetry. The typical poetry by Su and Huang ranged from linguistic techniques to character accomplishments, and these poets created ideal works based on the reflection of inner heart.By general description and intensive study of the four major variations in the development of poetry theories in Song Dynasty, the deep-seated laws can be disclosed:first, the Confucianism, Buddhism and Taoism integrated in Song Dynasty but they influenced the poetic theories of Song Dynasty differently; second, the consciousness of inheriting cultural heritages of the poets in Song Dynasty made them assimilate the knowledge and writing techniques of the ancestors and then reformed the poetic language of Song Dynasty thoroughly; third, the poetic theorists of Song Dynasty paid more attention to reasonable spirit than emotional description, while both of which were mixed in the poetic theories of Song Dynasty; fourth, the theory of bringing the new through the old is the essence not only of "Jiang Xi School of Poetry "but also of the poetry theories of Song Dynasty, in both of which revivalism is the most important.The dissertation is to explore the poetic theory from the standpoint of aesthetic variation, and it is divided into four parts:chapter1 the variation of plain style; chpater2 the variation of rhetorical linguistic techniques; chapter3 the variation of agile creative conception; chapter 4 the variation of exquisite aesthetic space. The four variations were both independent and related to each other, and formed a clear and complete theory system of the poetry in Song Dynasty which indicates obvious character of poetry theory of Song Dynasty.更多还原