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自从宫体诗出现以后,便有两种截然不同的评价,首先是来自统治者的提倡并大量创作宫体诗,由此而导致某一段时期之内宫体诗的盛行,尤其以齐梁年间以及随后的隋、唐初一百年间最具代表性;其次是来自传统文人的猛烈抨击,在他们看来,不论是宫体诗的题材还是它整体给人的感觉都是低俗的,是违背传统诗歌理论“温柔敦厚”、“兴观群怨”的。本文从宫体诗全盛的梁代入手,结合梁代宫体诗的内容和题材,对这一短命的诗体中所蕴涵的“再现主义”倾向和其独特的审美价值进行挖掘。
Since the appearance of the palace poetry, there have been two completely different evaluations, first from the ruler’s advocacy and mass creation of the palace poetry, which led to the prevalence of palace poetry within a certain period of time, especially in Qi Liang years Followed by the most representative one hundred years of the Sui and Tang dynasties; followed by the violent criticism from the traditional literati, in their view, whether it is the theme of the palace poem or the overall feeling of giving is vulgar, is Contrary to the traditional poetic theory “gentle and honest ”, “Xing Guan group resentment ”. This article starts from the prosperous generation of palace poetry and combines with the content and theme of the poem of Liang Dynasty ’s palace poetry to excavate the tendency of “reproductionism” and its unique aesthetic value contained in this ephemeral poetry.