论文部分内容阅读
明代诗学具有创新性的理论是格调说和性灵说,由于对曲以外的歌诗缺乏认识,关于二者的研究,前者侧重于范畴的界定与渊源的考辩,后者则突出其时代精神与思想史意义的阐释,皆程度不同地无视明代诗学赖以产生的独特生态以及诗学本身的具体指向。明代有无文人歌诗?清代以来,学术界就认为歌诗之法至明已亡,完全变成了文章之事。但是我们发现明代除了民歌外,尚有文人歌诗。文人歌诗乐律与诗歌声韵的二而合一的理念,直接导致以声论诗,而以声论诗又是格调论中“调”的直接来源。民歌“其曲胡,其思淫,其声哀,其调靡靡”的声乐特点,以及这种声乐所反映的自然之趣、真趣,既与格调说以声论诗相契合,又构成了性灵说的核心价值。
The innovative theory of Ming Dynasty poetics is the style and spirit of the genre, due to lack of understanding of song poetry, on the two studies, the former focuses on the definition and origin of the debate, while the latter is to highlight the spirit of the times And the interpretation of the meaning of the history of the thought, all ignore the unique ecology that the Ming Dynasty poetics produced and the concrete orientation of the poetics itself. Since the Qing dynasty, academics think that the law of song poetry has finally died, and it has completely become a matter of the article. However, we found that in addition to folk songs in the Ming Dynasty, there are literary poems. The concept of “oneness and unity” between the poetic music poetic rhyme and the poetic rhyme of the poem directly leads to the theory of sounding poetry, while the theory of sounding poem is also the direct source of “tone” in style theory. The vocal characteristics of folk song “its song song, its contemplation, its sound sadness, its tone ”, and the natural interest and true interest reflected by this kind of vocal music, Constitute the core value of spirituality said.