从诗与乐的关系看三曹诗歌  

A Probe into San-Cao's Poetry in Respect of the Relation between Poetry and Music

作　　者：金国正[1] 

机构地区：[1]华东师范大学中文系,上海200062

出　　处：《南昌大学学报（人文社会科学版）》2006年第1期113-117,共5页Journal of Nanchang University(Humanities and Social Sciences)

摘　　要：曹操酷爱音乐,其诗歌创作与音乐活动密切相关,使其诗作留有明显的音乐痕迹;曹丕诗歌既有向民歌学习的一面,同时也注重辞采,其诗歌在形式创新方面的意义要大于内容创新意义;曹植的诗歌创作则基本脱离了音乐的束缚,他的诗歌开始寻求文字内在的声律之美,从内容上也渐渐摆脱“代言”的局限,从而完成了诗乐分离的趋势。三曹诗歌中的诗乐离合关系,从另一侧面说明了文学自觉的过程。Cao Cao was fascinated with music that closely interacted with his poetry creation, which had left obvious music traces in his poems. Cao Pi, Cao Cao＇ s son, wrote poems in learning from folk songs and put great emphasis on art character. The innovative significance of his poems is stronger in the form than that in the content. Cao Zhi, another son of Cao Cao, tried to jump the traces of music and started to pursue the rhythm beauty among words, which led his poems in content gradually to getting rid of the limitation of acting role and consequently completing the trend of separation between poetry and music. The separation and union of poetry and music unfolded in the three Caos＇ poetry creation illustrates the process of the consciousness of literature.

关 键 词：三曹 文学自觉 诗乐离合 

分 类 号：I207.2[文学—中国文学]