摘要
文学史家通常将元代诗歌史分为三期,元初摹仿晚唐与季宋,元中期以"四大诗人"为代表的主流诗人推尊盛唐,杨维桢为后期之代表,其诗论的核心,是反对晚唐晚宋,提倡六朝与唐代二李(李白、李贺),同时又推崇陶、韦、柳之诗风,间及杜甫、李商隐与韩偓。如果说,以"元诗四大家"为代表的元中期诗人活跃于朝廷,诗风主要是盛唐之音,是舂容大雅之音;那么,以杨维桢为代表的"铁崖(雅)体"诗人,则主要活动在元后期,地域则在东南地区,主要是一批在野诗人,诗风则接近中唐,是"变风""变雅"。在诗体上,杨维桢倡导古乐府,轻视律诗;在写作方法上,他提倡《春秋》笔法,主张诗歌有言外之意,反对简单的历史记录体("诗史")。杨维桢的同道与诸门弟子,论诗均与维桢较为接近,又有所发展。
The history of poetry in Yuan dynasty is usually divided into three periods.In the early Yuan period,the poetic style of late Tang dynasty and late Song dynasty was prevalence.In the middle-Yuan period,the high Tang style was emulated,as was represented by the so-called the Four Great Yuan Poets who were officials and served’in the court.Yang Weizhen,an influential poet in late Yuan dynasty for his poetics,however,advocated the Six-Dynasty poetry as well as the works of Li Po,Li Ho,Tao Yuanming,Wei Yingwu,Liu Zongyuan,Du fu,Li Shangyin,etc.Yang Weizhen and his followers were active in southeast China,not in the officialdom.They emulated the mid-Tang poetry,and contributed to the transition toward the style of the airs and the hymns in The Book of Poetry as they also admired the Music Bureau Poetry and advocated the implicit diction commonly known as the strategy of writing The Spring and Autumn Annals.
作者
丁放
Ding Fang(The School of Literature,Jiangsu Normal University,Xuzhou 221116,Jiangsu Province,China)
出处
《文艺理论研究》
CSSCI
北大核心
2021年第1期62-72,共11页
Theoretical Studies in Literature and Art
基金
国家社科基金重大招标项目“唐诗学研究”[项目编号:12&ZD156]阶段性成果。
关键词
杨维桢
铁崖体
变风变雅
古乐府
《春秋》笔法
Yang Weizhen
Tieya style
transition toward the air and the hymns
Music Bureau Poetry
the indirect-diction style of the Spring and Autumn Annals