摘要
北宋后期,范温在其诗学著作《潜溪诗眼》中将“韵”作为最高的美学范畴,并以“有余意”来解释“韵”,这正是宋诗创作和宋人美学追求的集中体现。范温“韬晦众善”求余意的理论滥觞于欧阳修与苏轼等通才型诗人的创作实践;一长有余却以淡求韵的理论植根于梅尧臣与苏舜钦等人追求平淡简易的创作实践;注重主体见识的理论则源自王安石和黄庭坚等人器识卓异与别具只眼的创作实践。通过对北宋诗坛追求余意的创作实践进行总结,范温重新定义和阐释了“韵”范畴。
In the late Northern Song Dynasty, Fan Wen’s poetic work Qianxi Shiyan views“rhyme”as the highest aesthetic category and explains it as having the lingering meaning, which is the very embodiment of Song poetry creation and the aesthetic pursuit of the poets in the Song Dynasty.Fan Wen’s theory of “concealing the real intention to seek the lingering meaning” originates from the creative practice of the generalist poets such as Ouyang Xiu and Su Shi, the theory of “seeking rhyme in plainness” is rooted in the creative practice of Mei Yaochen and Su Shunqin to pursue plainness and simplicity, and the theory of paying attention to subjective insight originates from the creative practice of Wang Anshi and Huang Tingjian.Fan Wen redefines and explains the category of “rhyme” by summarizing the creative practice of pursuing the lingering meaning in the poetry of the Northern Song Dynasty.
作者
王炜
WANG Wei(College of literature,Hebei University,Baoding,Hebei 071000,China)
出处
《河北北方学院学报（社会科学版）》
2022年第4期11-15,32,共6页
Journal of Hebei North University：Social Science Edition
关键词
宋诗
范温
《潜溪诗眼》
韵
Song poetry
Fan Wen
Qianxi Shiyan
rhyme
