翁方纲“肌理”说辨  

An Argument for Wong Fanggang’s Theory of “Texture”

作　　者：祁志祥[1] 

机构地区：[1]上海政法学院研究院,上海201701

出　　处：《陕西师范大学学报（哲学社会科学版）》2013年第4期52-56,共5页Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition)

基　　金：国家社会科学基金项目(05BZW010)

摘　　要：清代中叶,翁方纲标举"肌理"说独步诗坛。"肌理"从"言有物"一端说是"义理"、"考据",是对王士祯"神韵"说的吸收和改造;从"言有序"一端说是"文理"、"诗法",是对沈德潜"格调"说的继承与改造。从某种意义上说,"肌理"即"义理"与"文理"、"神韵"与"格调"、"性情"与"学问"的统一,体现了桐城派"义理、考据、辞章"合一的思想影响,与袁枚无视"义理"、不讲"诗法"的"性灵"追求判然有别,是熔铸诸家、更加周全的诗学概念。In the midst of the Qing Dynasty, Wong Fanggang established himself as a distinctive poet by intro- ducing the theory of ＂texture＂. In terms of ＂substantial statement＂, the ＂texture＂ meant ＂argumentation＂ and ＂investigation＂, resulting from absorption and transformation of the theory of ＂wonderful tone＂, but in terms of ＂logical statement＂, it related to ＂narrative organization＂ and ＂poetic criteria＂, taking shape by carrying on and transforming Shen Deqian＇ s theory of ＂noble style＂. In a sense, the ＂texture＂ integrated ＂argumentation＂ with ＂narrative organization＂, ＂wonderful tone＂ with ＂noble style＂, and ＂character＂ with ＂learning＂, revealing a in- fluence of the Tongcheng School. Therefore, Different from Yuan Mei＇ s critical theory neglecting the pursuit of ＂argumentation＂, ＂poetic criteria＂ and ＂mental impulse＂, Wong contributed a more comprehensive poetic view by absorbing various poetic theories.

关 键 词：翁方纲 肌理 义理 文理 神韵 格调 性灵 

分 类 号：I207.22[文学—中国文学]