论钱锺书的旧体诗创作及相关理论--以《槐聚诗存》《谈艺录》为主要考察对象  

Qian Zhongshu's Old-Style Poetry:A Case Study of his Collected Poems and On the Art of Poetry

作　　者：钱志熙[1] Qian Zhixi(Department of Chinese Language and Literature,Peking University,Beijing 100871,China)

机构地区：[1]北京大学中文系,北京市100871

出　　处：《文艺理论研究》2020年第1期46-58,共13页Theoretical Studies in Literature and Art

摘　　要：钱锺书《槐聚诗存》是新文学家旧体写作最见渊源、与晚清流行诗派关系最深者。其早年诗作泛学清人,后来比较集中地学同光体,同时也受到诗界革命派、晚唐体的影响。诸体尤精七律,句法多生新,能上探江西诸家,甚至溯源至杜诗。钱氏对唐宋以来的诗学流变探讨甚深,尤其是对清诗各家艺术之辨析,见解独到。其诗学的基本纲领为唐宋诗之变。钱诗以情志为体,亦多忧时之意,但他在创作与理论上,都重视艺术表达,在现代诗学本体论中其"诗者持也"论独成一说。Amongst modern Chinese scholars’ writings in the traditional style, Qian Zhongshu’s Collected Poems has the deepest affinity with the prevailing poetry schools in the late Qing period. In his early years, Qian learned extensively from the Qing poets, and later narrowed down on the Tong-Guang style while taking in the influence from the School of Poetry Revolution as well as the late Tang style. Qian excels in seven-character metrical poetry, and his ingenious prosody can be traced back to the poetry by the Jiangxi School, or even Du Fu’s. Qian delved deep into the transformations of poetics from the Tang and Song dynasties onwards, and had original insights in his analysis of poetic arts of all the schools of Qing poetry. Taking the transformation from Tang poetry to Song poetry as the basic principle for his poetics, Qian developed his poetics that centered on the expressions of personal emotions and social concerns., Qian’s primary concerns in poetry lie in artistic expression, andontological formulation that "poetry is about poise in" has unique significance in modern poetics.

关 键 词：钱锺书 现当代旧体诗 槐聚诗存 当代诗论 

分 类 号：I207.2[文学—中国文学]