论文部分内容阅读
在《谈艺录》中,钱钟书提出了“诗分唐宋”的主张,将中国诗歌划分为“唐诗”与“宋诗”两个相对且并列的范畴,并指出这一分野肇始于人之“秉性”。同时为了论证这一观点,他还援引了席勒关于素朴诗与感伤诗的区分。钱钟书“诗分唐宋”看法的形成不仅受到了西方文艺理论家席勒、福楼拜等人的影响,同时也延续了我国古代学者关于“诗人之诗”与“学人之诗”问题的讨论。在这个基础之上,本文尝试从唐诗与宋诗的真正分野、唐诗到宋诗的转变、唐诗与宋诗的共存这三个方进一步讨论钱钟书“诗分唐宋”这一提法。
In “Talking about Art Record”, Qian Zhongshu put forward the proposition of “dividing poetry into Tang and Song”, dividing the Chinese poetry into two relative and parallel categories of “Tang poetry” and “Song poetry” Pointed out that this distinction originated in people “natures ”. At the same time, in order to demonstrate this point of view, he also quoted Schiller’s distinction between plain poems and sentimental poems. The formation of Qian Zhongshu’s poem “The Division of Poetry in the Tang and the Song Dynasties” not only influenced by Western literary theorists Schiller, Flaubert et al., But also inherited the influence of ancient Chinese scholars on the poet Scholar’s poem "discussion of the issue. On this basis, this article tries to discuss the relationship between Qian Zhongshu and Poetry in Tang and Song Dynasties from three aspects: the true division of Tang poetry and Song poetry, the transformation from Tang poetry to Song poetry, the coexistence of Tang poetry and Song poetry law.