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唐宋派文学思想的演变主要在三个维度上展开:一、义法关系从平衡走向断裂,其后又渐趋融合;二、表现对象逐渐内移,主体心灵的地位日益彰显;三、文学创作的价值取向逐渐从“道学”向着“文学”自身回归。唐宋派诸人对义法关系的处理方式,体现了他们对唐宋以来古文创作经验的总结与承继,从中亦可看到清代桐城派“义法”理论的雏形。他们对创作主体之心灵地位的大力张扬,及其浓重的道德或心性主义色彩,则体现了阳明心学对明代文学积极的和消极的复杂影响,以及唐宋派在明代文学从重格法到重自我的转变过程中的过渡性角色。而他们在“道学”与“文学”之间的摇摆与游离,则体现了中国古代士人在价值取向上对文学创作所抱有的微妙态度,为我们深入理解中国古人的文学价值观念提供了一个生动的案例。
The evolution of literary thoughts in the Tang and Song schools was mainly carried out in three dimensions: First, the relationship between righteousness and law broke down from equilibrium and then gradually merged; second, the performance objects gradually shifted in and the status of the subject’s mind became increasingly prominent; Third, literature The value orientation of creation gradually returns from “Taoism ” toward “Literature ” itself. The methods of dealing with the relationship between righteousness and law in Tang and Song dynasties embody their summary and inheritance of the ancient writing experience since the Tang and Song dynasties. From this we can also see the embryonic form of the “Cheng Fa” theory of Tongcheng School in the Qing Dynasty. Their great publicity of the spiritual status of the main body of creation and their strong moral or xenophobic colors reflect the positive and negative complex influence of the Yangming school of thought on the literature of the Ming Dynasty. Emphasize the transitional role of self-transformation. However, their sway and freedom between “Taoism” and “Literature” embody the subtle attitudes of Chinese ancient scholars on literary creation in the value orientation and provide us a deep understanding of the literature of ancient Chinese people Values provide a vivid example.