南朝诗学声律论之创建、深化及批判  

On the Creation,Deepening and Criticism of the Poetic Prosody in the Southern Dynasties

作　　者：吴建民[1] 黄春燕[1] WU Jian - min HUANG Chun - yan(School of Chinese Language and Literature,Jiangsu Normal University, Xuzhou ,Jiangsu 221116, China)

机构地区：[1]江苏师范大学文学院,江苏徐州221116

出　　处：《南昌大学学报（人文社会科学版）》2017年第3期112-116,共5页Journal of Nanchang University(Humanities and Social Sciences)

基　　金：江苏高校优势学科建设工程项目(PAPD)

摘　　要：沈约提出的"声律论"标志着我国古代诗学"声律论"的正式创建,其内涵是将汉语的四声运用于诗歌,强调诗歌音律之和谐及丰富多变的声韵美。刘勰的《文心雕龙》有多篇文章论及诗歌的声律问题,从更高的理论层次论述了音律之生成本源、创作中声律运用不合之原因与解决办法及声律与作品审美韵味之关系等,从而深化了声律论。钟嵘对声律论展开了猛烈批判,指出了声律论对诗歌创作的负面影响,并提出了以自然声韵为本的诗歌声律观。Shen Yue＇ s theory of prosody marked the formal creation of the ancient poetic prosody. Its meaning was applying the four tones of Chinese into poetry. , emphasizing the harmony as well as the rich and varied rhyme of poetry. In Liu Xie＇ s the Literary Mind and the Carving of Dragons, there were some articles discussing the rhythm of poetry. These articles also illustrated the origin of rhythm and the reason of unreasonable use of rhythm during creation and its solution,as well as the relationship between sound and aesthetic charm of work from a higher theo- retical level so as to deepen the prosody. Zhong Rong has sharply criticized the prosody and has pointed out its nega- tive impact of it on the creation of poetry,and put forward the nature -based rhythm view.

关 键 词：诗学 声律论 创建 深化 批判 南朝 

分 类 号：I206.391[文学—中国文学]