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作为一名蒙古族诗人、学者,法式善对元诗有天然的亲近感。他在《四库全书》馆任职期间,购买和抄录大量元人诗集,并积极参与元诗文献的整理、传播与研究。清人批评元诗,或者以唐音来观照元诗,或者将元诗与宋诗并举,但受王士禛、翁方纲和袁枚的影响,法式善具有较为融通的诗学思想,能够平等对待唐、宋、元、明、清诗。法式善在批评实践中将元诗和清诗进行比较,充分肯定元诗自身的风格与特质,与《四库提要》代表的官方诗学话语,其批评方法有相通之处,但立场并不一致。法式善在元诗接受史和清代诗学史上都占有重要的地位。
As a Mongolian poet, scholar, French good has a natural sense of closeness to Yuan poetry. During his tenure at the library of the Sikuquanshu, he purchased and transcribed a large number of poems from the Yuan Dynasty and actively participated in the collation, dissemination and research of Yuan’s poetry. Qing criticism of Yuan poetry or Tang poetry to observe Yuan poetry or poetry and Song poetry simultaneously, but by Wang Shizhen, Weng Fanggang and Yuan Mei’s influence, French good with poetic thinking more accessible, can treat Tang and Song Yuan, Ming and Qing poetry. In the practice of criticism, French good compares the poems of Yuan Dynasty with those of Qing poems, fully affirms the style and characteristics of Yuan poetry, and has the similarities with the official poetic discourse represented by the “Si Ku” . French good holds an important position in the history of receiving poetry and the history of Qing poetry.