摘要
19世纪初期,日本江户歌坛出现崇真重诚、以情反理的性灵思潮,桂园派创始人香川景树提倡有"调"(sirabei)的和歌创作,并将"诚"(性灵)与"调"(音韵)结合起来,指出最高级的诗美便是"天地之调"。"调之说"与袁枚的性灵说以及沈德潜的格调说都有相类通之处,"调之说"融合了两者的长处,尤其对"性灵"与"学问"并重的诗学主张符合诗歌审美的发展规律,对日本近代诗歌的兴起起到了思想启蒙的作用。
In the early nineteenth century, there was a trend of spiritual thought in the Jianghu music circle of Japan. Xiangchuan Jingshu, founder of the Guiyuan School advocated poetry creation should be combined with "tune"(sirabei), and furthermore, poetry should combine "sincerity" and "tune". He pointed out that the highest poetic beauty was "the tune of heaven and earth". There are similarities between this "tune theory" and Yuan Mei’s theory of soul and Shen Deqian’s theory of style. The "tune theory" combines the advantages of both. The poetic proposition of "soul" and "knowledge" is in line with the law of the development of poetry aesthetics and plays an ideological enlightening role in the rise of modern Japanese poetry.
作者
李东军
LI Dongjun(School of Foreign Languages, Soochow University, Suzhou 215006, China)
出处
《苏州教育学院学报》
2019年第4期68-74,共7页
Journal of Suzhou College of Education
基金
国家社会科学基金一般项目(14BWW010)
关键词
香川景树
和歌
性灵
格调
诚真
Xiangchuan Jingshu
poetry
soul
tune
sincerity
