论明代台阁体诗学“性情之正”的渊源及缺失  

On the Origin and Defect of Cabinet-style's Poetics about “Correctitude of Disposition”in the Ming Dynasty

作　　者：王征[1] WANG Zheng(School of Literature, Nankai University, Tianjin 300071, China)

机构地区：[1]南开大学文学院,天津300071

出　　处：《西华师范大学学报（哲学社会科学版）》2016年第6期42-48,共7页Journal of China West Normal University:Philosophy & Social Sciences

摘　　要：明初台阁体诗歌在宋元理学性情理论的影响下,形成了"性情之正"的诗学观念,台阁馆臣对此有较多论述。其诗歌创作也一直深受"性情之正"观念的影响,要求诗歌考见王政得失、治道盛衰;止乎礼义、辅于世教。因此,台阁体诗歌被封闭在儒家伦理道德的狭窄圈子里,而不能很好地表现作者的真实情感,同时也割裂了中国传统的诗学观念,导致了诗风的平易雍容,降低了诗歌的品位,在艺术上存在着严重的缺失。后世诗人对此皆有强烈的不满,他们或以实际的创作,或以成熟的理论,给予了批评和改革,使中国诗歌走出了台阁体的偏执与低谷。Cabinet-style＇ s poem formatted the concept of ＂correctitude of disposition＂ under the influence of the Song and Yuan＇ s neo-Confucianism in the early Ming dynasty. The civil servants of the cabinet had more discussion on this. Their creation of poetry was deeply influenced by the concept of ＂correctitude of disposition＂. They claimed that poetry must reflect the gains and losses of the emperor＇ s administration , the rise and fall of the country,emphasizing the moral etiquette and being beneficial to personal accomplishment , political correctness and economic prosperity of the county . So this kind of poems were enclosed in a narrow circle of Confucian ethics and failed to show the authors true feelings . More seriously , they fragmented the traditional Chinese concept of poetry, caused a plain ,graceful and poised style of the poetic and reduced the quality of poetry, for which serious artistic defects arose. Later poets all showed their strong dissatisfaction and gave their criticism and reform by means of actual creation or mature theory, leading Chinese poetry in walking out of cabinet-style＇ s paranoid and the lowest point.

关 键 词：台阁体 “性情之正” 理学渊源 艺术缺失 

分 类 号：I206.2[文学—中国文学]