摘要
神韵一开始就孕育在格调论诗学本身,随着格调论面临困境的加深,也随着士人精神的走向内敛,而在理论上不断发育成长。明代格调论者在标举“格调”时,也都注意到范型诗歌所具有的风神韵味。但既从体格声调的审美中介入手,难免易忽略更高层次的神情韵味。这已引起“前七子”之何景明、王廷相,“后七子”之谢榛等人强烈关注。此后经晚明格调论者屠隆、胡应麟、许学夷、谢肇淛、邓云霄等人的努力,至陆时雍已完成明代诗学由格调向神韵的转化,从而与清代王士禛的神韵说接轨。
The charm theory originated from the pattern theory in the beginning. With the pattern theory falling gradually into difficulty and with the scholars becoming introversive, the charm theory gradually grew theoretically mature. The scholars in Ming dynasty noticed the charming of poems while stressing the pattern theory. However, the charm of poems, a high level of appreciation, tends to be neglected when stressing the form and tone as aesthetic criteria. This phenomenon was much concerned by the former Seven Masters like He Jingming and Wang Tingxiang, and the Latter Seven Master like Xie Zhen. Through the efforts of Tu Long, Hu Yinglin, Xueyi, Xie Zhaozhe, Deng Yunxiao, the transition from charm theory to the pattern theory has been achieved by the time of Lu Shiyong, and pattern theory conformed with Wang Shizhen’s charm theory in Qing dynasty.
出处
《文学与文化》
2019年第3期32-37,共6页
Literature and Culture Studies
关键词
格调
神韵
诗学
明代
Pattern Theory
Charm Theory
Poetics
Ming Dynasty
