摘要
明中后期,传统的"格调"论说已不能提供更多的理论阐释,新的诗歌美学概念与诗学思维正被尝试引入汉魏诗学中,王世贞便是这种转变的代表人物。其汉魏诗学术语论明显可以看到这种新旧思想交替发展的轨迹。汉魏诗歌"古色"论的提出是为了消除"本色"论的含混性,"古色"本身仍表现出对"格调"的追求。"自然"与"性灵"论说的提出使王氏在某种程度上成为公安派的理论先驱,但二者的获得并非是无条件的,需要以"古"为前提和基础,这也是王世贞"性灵论"与公安派"性灵说"最大的不同之处。
In the middle and late Ming dynasty,failed to further provide more explanations,the creeds of classical poetry have to try to introduce some new aesthetic concepts for poetic ideas on Han-Wei dynasty.Wang Shizhen is a representative figure of the new tide,and Wang’s terminologies of poetic ideas on Han-Wei dynasty can saliently reflect the track in which interplay occurs between old and new ideas.Poetry of Han-Wei dynasty’s “ancient color” presented by Wang is to eliminate the ambiguity of “natural color”,and “ancient color” itself still shows its pursuit of the creeds of classical poetry.Moreover,the elaboration of “involuntariness” and “soul’s genuineness” makes Wang,to some extent,become a herald to Gong’an School.However,“involuntariness” and “soul’s genuineness” both are not unconditional,they play a part under the prerequisite of “classic”,and this is the main aesthetic difference between Wang and Gong’an School.
作者
杨森旺
YANG Sen-wang(School of Literature,Hebei University,Baoding 071000,China)
出处
《河南科技大学学报（社会科学版）》
2019年第1期45-50,共6页
Journal of Henan University of Science & Technology(Social science)
关键词
汉魏诗学
古色
自然
性灵
王世贞
poetic idea on Han-Wei dynasty
ancient color
involuntariness
soul’s genuineness
Wang Shizhen
