明初乐府诗的创作趋势与特点  

Creation Trend and Characteristics of Yuefu Poem in the Early Ming Dynasty

作　　者：王辉斌[1] 

机构地区：[1]襄樊学院文学院,湖北襄樊441053

出　　处：《西华大学学报（哲学社会科学版）》2010年第4期48-53,共6页Journal of Xihua University(Philosophy & Social Sciences)

摘　　要：明代初期的乐府诗创作,既受元末以杨维桢为代表的"铁崖乐府诗派"的影响,又有着其自身的特点。从乐府诗的类别而言,明初乐府诗的创作趋势,主要是集中在"古乐府"、宫词类乐府、旧题乐府三个方面,并因此而形成了三股创作潮流。明初的"古乐府",主要是指"杨维桢式"的古乐府诗,其中既包含着旧题乐府,更多的则是一些"自创新题"的新题"古乐府"。因"宫词事件"而兴盛于皇族的大型连章体《宫词》,成为了明初乐府诗创作中的一道奇观。从复古的角度进行旧题乐府的创作,并使之具有即事性、讽喻性等特点,是明初乐府诗创作的又一道风景线。Creation of Yuefu poem in the early of Ming Dynasty integrated its own features with those of ＂school of Tieya Yuefu poem＂ represented by Yang Weizhen. The three creation trends are ＂Old Yuefu＂,palace lyrics,and the Yuefu before Tang Dynasty. The ＂Old Yuefu＂ in the early of Ming Dynasty was mainly the ＂Yang Weizhen’s Old Yuefu＂— ＂Old Yuefu＂ plus Yuefu before Tang Dynasty. Its two characteristics are as follows： 1） palace lyrics prevailed in the royal that time,due to the ＂Palace Lyrics Event＂,which was quite unique in the Yuefu creation; 2） the creation of Yuefu before Tang Dynasty was updated and allegorical.

关 键 词：明代初期 “古乐府” 宫词创作 旧题乐府 独领风骚 

分 类 号：I222.6[文学—中国文学]