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先秦时代人们对诗歌的社会作用的认识 ,已经比较全面 ,但对诗歌风格方面的认识 ,还很肤泛。到了汉代的《毛诗序》,指出了诗歌的风格与其产生的时代密切相关。汉、魏时曹丕《典论·论文》进一步指出了风格与作品体裁的关系 ,陆机《文赋》又加以发展 ,他们同时还注意到了风格与作家个人气质之间的关系。刘勰《文心雕龙》中有多篇涉及到风格问题 ,并以“八体”概括作品的风格 ,表明这时人们对风格的认识已经比较深入了。同时的钟嵘在《诗品》中 ,则以“溯源流”的方法 ,指出前后代诗人在风格上的联系。唐代对诗歌风格的分析 ,更加细致 ,以致有“十九体”、“二十四品”之多 ,但完全意义的风格论还没有出现。严羽在总结前人理论的基础上 ,在反对宋诗的不良倾向中 ,深入分析了唐、宋诗风格的不同 ,对诗歌风格进行了全面地、深入地论述 ,在风格的辨析上 ,已经力求做到没有“毫厘之差”,从而建立了比较系统的风格论 ,表明古典诗学的风格论 ,在严羽《沧浪诗话》中 ,已经完全成熟了。
The pre-Qin era people’s understanding of the social role of poetry, has been more comprehensive, but the style of poetry, but also very broad. When it came to the “Mao Poetry Preface” in the Han Dynasty, it was pointed out that the style of poetry was closely related to the era it was born. Han and WEI Cao Pi’s “Theories and Theses” further pointed out the relationship between genre and the genre of works, and Lu Ji’s “Wen Fu” developed again. At the same time, they also noticed the relationship between style and writer’s personal temperament. How many articles in Liu Xie’s “Wen Xin Diao Long” relate to the style problems and generalize the style of “Eight Body” to show that people’s cognition of style has been more in-depth at this time. At the same time Zhong Rong in the “poetry”, then “trace the source of flow” approach, pointing out the style of the poet before and after the connection. The analysis of the style of poetry in the Tang Dynasty was more detailed, so that there were as many as “19 body” and “24 products”, but the complete significance of style theory had not yet appeared. On the basis of summarizing the theory of the predecessors, Yan Yu analyzed in depth the different styles of Tang and Song poetry in his disagreement with Song poetry. He comprehensively and deeply discussed the style of poetry, Strive to achieve there is no “slightest difference”, thus establishing a more systematic style theory, that the style of classical poetics, in Yan Yu “Canglang Poetry”, has been fully mature.