也论“汉音”与“魏响”:“三曹”诗歌创作的历史定位  

Also on "Han Yin"and "Wei Xiang"

作　　者：黄志浩[1] 

机构地区：[1]江南大学文学院,江苏无锡214122

出　　处：《南京师大学报（社会科学版）》2006年第6期120-124,共5页Journal of Nanjing Normal University(Social Science Edition)

摘　　要：自明代诗学将汉魏分论,到清人选诗有“汉音”、“魏响”之谈,至今影响甚巨。对“三曹”及邺下文人集团诗歌创作的定位,已经成为汉魏诗歌分期及其“自觉时代”确定的焦点。从理论上讲,诗歌自觉的标志,应以其作为语言艺术而独立之时为起点。据此而论:曹操的作品仍是诗歌语言与音乐旋律之美的综合体,属于汉代“歌诗”的范畴;曹丕与曹植的诗歌,则由于创作心态与观念的新变,逐渐表现出语言艺术与音乐艺术的分离,从而走上了诗歌自觉的道路。The separation of the Han poetry from Wei poetry dates from the Ming Dynasty＂ s poetics, l he cnucs of the Qing Dynasty, while selecting poems, named them ＂Han Yin＂ and ＂Wei Xiang＂ respectively. Its great influence can be felt even today. In fact, locating the poetic creation of the three Cao and the Ye capital Literati Group has become the focus in deciding the periods of the poetic history and the poetic ＂self-conscious＂ era. Theoretically, the sign for poetic self-consciousness is that poetry should exist in itself as a language art. Thus, Cao Cao＇ s works are still a beauty combining poetic langnage with musical rhythm, belonging to the category of the Hart ＂lyric＂ However, the poems of Cao Pi and Cao Zhi, as a result of the new change in creating mood and concept, show the separation of language arts from music arts, embarking on the journey of poetic self-consciousness. The paper partly borrows the ancient notion of ＂Han Yin＂ and ＂Wei Xiang＂, while in literary values and aesthetic theories it shows their significandy different orientations.

关 键 词：三曹 汉音 魏响 

分 类 号：I207.22[文学—中国文学]