论明清之际的比兴诗学——以朱鹤龄、冯班、贺裳、吴乔四家为例  

The Bi Xing Poetics in the Late Ming and Early Qing Dynasties: The Cases of Zhu Heling,Feng Ban,He Shang,and Wu Qiao

作　　者：黄卓颖[1] Huang Zhuoying(the School of Liberal Arts, Nanjing Normal Universit)

机构地区：[1]南京师范大学文学院

出　　处：《文艺理论研究》2017年第5期52-62,共11页Theoretical Studies in Literature and Art

摘　　要：在明末清初的江南诗坛上,朱鹤龄、冯班、贺裳、吴乔等人由于不满意前代七子诗学与竟陵派诗学师古与师心的偏颇,通过一系列诗学批评和反思之后,开始以"学古人用心之路"为号召,以比兴思维为理论核心,在调和与平衡师古与师心关系的过程中,逐步建立起了一套新型的比兴诗学。这套诗学,以追求结构的多重性、审美的内向性、格调的正统性以及诠释的比附性为典型特征。经由诗学争鸣与师友传播等途径,迅速影响清初的诗坛,直接或间接地引发了诗学批评中有关政教美刺精神、唐宋诗优劣、李商隐诗学地位的重新界定以及诗重比兴等重要问题的大讨论。In the late Ming and early Qing＇s poetry circle, a new poetics system, Bi Xing poetics, came into being with representatives of Zhu Heling, Feng Ban, He Shang, and Wu Qiao, who were discontented with the popular poetics of the time, for example, Seven-Scholar School＇s ancient poetics and the Jing-Ling School＇s natural disposition and soul theory. The Bi Xing poetics had four characteristics： multiplicity of structure, introverted aesthetic affection, the orthodox style, and strained interpretation of history. It became very popular after the advocates＇ detailed explanation and arguments. Significantly, this new poetics directly led to some remarkable phenomena, such as attaching importance to critical spirits in poetics, debating about poetic pros and cons of Tang and Song poetry, redefining Li Shangyin＇s poetic status, and emphasizing the use of Bi Xing in poetry writing and criticism.

关 键 词：比兴诗学 七子派 竟陵派 江南诗坛 清代诗学 

分 类 号：I207.22[文学—中国文学]