论徐铉七律诗风的转变及其诗学内涵  

On the Change of XU Xuan's Poetic Style of Eight - line Chinese Poems With Seven Characters to a Line and Its Poetic Connotations

作　　者：张立荣[1] 

机构地区：[1]江西师范大学,江西南昌330027

出　　处：《江西师范大学学报（哲学社会科学版）》2013年第4期42-47,共6页Journal of Jiangxi Normal University(Philosophy and Social Sciences Edition)

基　　金：教育部人文社科研究青年基金项目"北宋七律发展流变研究"(编号:10YJC751121)

摘　　要：在南唐与宋初,徐铉七律如其仕途一样,呈现出比较明显的变化。其前期七律,虽有元和风调,但情调与手法上更类晚唐诗风,而后期在题材、风格及创作手法上都向元和风调的主要代表者白居易靠拢,成为宋初白体的代表性诗人。这一变化不仅体现了南唐入宋作家心态的转变,也体现了唐末五代到宋初政治格局的变化对士人诗风的影响及宋初右文政策对士人明松暗紧的束缚。In the Southern Tang Dynasty and early Song Dynasty,XU Xuan＇s eight-line Chinese poems with seven-characters to a line presents,as his official career,more obvious changes.Although his early eight-line Chinese poems with seven-characters to a line presents Yuanhe style,they are nearer to the poetic style and techniques of late Tang Dynasty.However,his late poems are closer in theme,style and techniques to BAI Juyi who was the main representative of Yuanhe style.And XU Xuan becomes a representative of BAI style in the early Song Dynasty,which embodies not only the change in attitudes of writers from the Southern Tang Dynasty to the early Song Dynasty,but also the impact of political pattern changes on the poetic style of scholars from the late Tang and the Five Dynasties to the early Song Dynasty and the shackles of the policy of civil administration on scholars.

关 键 词：徐铉 七律 白体 

分 类 号：I207.22[文学—中国文学]