论元好问与金代的乐府诗  

On YUAN Hao-wen and Ancient Chinese Poems of Jin Dynasty

作　　者：王辉斌[1] 

机构地区：[1]襄樊学院中文系,湖北襄樊441053

出　　处：《贵州师范学院学报》2011年第5期1-6,共6页Journal of Guizhou Education University

摘　　要：以元好问为代表的金代乐府诗,是乐府诗史上值得注意的一座艺术高标。这一时期的乐府诗,虽然具有两宋乐府诗的某些因子成份,但重要的却是"以唐人为旨归"后的一种成果展示。金代诗人之于乐府诗的创作,不仅继承了杜甫"忧黎元"、白居易"补时阙"的创作宗旨,推出了一批具有鲜明时代特征、闪耀着现实主义光芒的新乐府诗,并且还以对歌行类乐府的雅好,而使得七言歌行在当时成为了一种创作时尚。两宋乐府因与音乐脱离了关系,而为一种仅供人们阅读的案头文学,金代乐府诗则使这种案头文学又回归到了"原生态"时期,即其大都可配乐而唱。这种回归,显然是乐府诗史上的一种进步。Ancient Chinese poems in Jin dynasty,with YUAN Hao-wen being the representative poet,form a tall artistic tower that deserves attention.Ancient Chinese poems in such a period,though having in them certain factors of poems during the Northern and Southern Song period,are a display of achievements that attach importance to people in the Tang dynasty.Poets in Jin dynasty in their creation of folk songs and ballads carried forward the aims of ＂sorrow over the people＂ by DU Fu and ＂mending faults of the time＂ by BAI Ju-yi,bringing about a great many of new folk songs and ballads being distinctively characteristic of times,sparkling with the radiance of realism,and their favourite for poems of Ge and Xing types makes the seven-character-a-line poems very fashionable at the time.Poems during the Northern and Southern Song period were departed from music and became a type of literature for reading at the desk.But poems in Jin dynasty were made to go back to their ＂original state＂ of being sung.Such a type of going back is obviously an advance in ancient Chinese poems.

关 键 词：元好问 金代乐府 时代特征 艺术高标 

分 类 号：I207.22[文学—中国文学]