论李商隐今古文创作经历及其文体观念  

On Li Shangyin's Experiences of Prose and Parallel Prose Writing and His Stylistic Concept

作　　者：刘青海[1] 

机构地区：[1]上海师范大学人文与传播学院,上海200234

出　　处：《北京大学学报（哲学社会科学版）》2013年第5期80-88,共9页Journal of Peking University(Philosophy and Social Sciences)

基　　金：国家社科青年基金项目"晚唐文学变局中的‘温李新声’研究"(项目编号:12CZW027)成果;上海高校一流学科(B类)建设计划规划项目;上海师范大学重点学科建设古典文献学阶段性成果

摘　　要：李商隐早年的古文创作经历对他的文体观念和文学思想影响甚大。他弱冠后从令狐楚学今体诗文的经历,既是中晚唐文学中古文与今文的消长在个体作家创作活动中的一种反映,同时也体现了他个人独特的文体观念和文学思想。其文学思想受到中唐古文家一派的影响,始终是以用世和明道为核心的,并且对道作出不同于传统古文家的阐释。体现在文体观念上,李商隐固然肯定古文"申诵古道"的价值,同时也不否定今体文中以润色庙堂为用的所谓大手笔,与一般的古文家有异。李商隐在今古文创作方面所体现的上述文体观念与文学思想是整体性的,也是他诗歌创作的重要基础。Li Shangyin＇ s experiences of prose writing had a great influence on his stylistic concept and literary thought. His experiences of learning to write parallel prose from Linghu Chu （令狐楚） not only reflected the rise and fall of prose and parallel prose writing in the Middle and Late Tang Dynasty, but also embodied his own distinctive stylistic concept and literary thought. Influenced by the prose writers in the Middle Tang Dynasty, he took the view of prose writing and the Way （文道论） as the core of his literary thought, but gave a different interpretation of the Way （道） from the traditional prose writers. As for stylistic concept, Li Shangyin affirmed the value of prose writing in illustrating the Way, but did not deny the value of parallel prose writing in polishing the edicts drafted in the imperial court. His stylistic concept and literary thought formed a whole, which laid down an important foundation for his poem writing.

关 键 词：李商隐 古文 今体 文体观念 文道论 

分 类 号：I207.6[文学—中国文学]