“开元之后,便到嘉靖”——明代诗论中的“唐、明并论”现象及其诗学意义  

On the Argument of Matching Ming-Tang Poetry and Its Significance in the Poetics of the Ming Dynasty

作　　者：郑妙苗 Zheng Miaomiao

机构地区：[1]中国社会科学院文学研究所,北京100732

出　　处：《清华大学学报（哲学社会科学版）》2020年第4期97-105,213,共10页Journal of Tsinghua University(Philosophy and Social Sciences)

摘　　要：明代中后期诗论出现了"唐、明并论"现象,即认为明诗已达到与唐诗比肩的成就。胡应麟《诗薮》、冒愈昌《诗学杂言》等著作从诗歌写作、诗坛作者组成两个方面指出,明诗成就已超越宋、元,足以和唐诗并列,嘉靖诗坛成为开元之后的另一个诗国盛世。这一时期的诗歌在体式、题材、风格等方面与初、盛唐诗具有一定的相似度,符合胡应麟等人所定义的诗歌"正体";同时,当时的诗坛创作较为活跃,呈现出众体兼备的繁荣局面,因此部分批评者提出"唐与明一"的结论。这一观点的产生,是复古派以"拟古"为"复古"诗学观念深入人心的有力证据。明人提倡的"复古"以"尊体"为核心观念,着重指向的是对前人诗歌语言形式层面的学习,通过拟摹前代的经典诗作来创作出符合法度、本色的诗歌。"唐、明并论"现象正是复古诗学理念影响下的产物,反映出明代复古诗学与前代的巨大差异,为重新思考明代复古派在诗学理论发展中的价值提供了新的视角。In the poetics of the mid and late Ming Dynasty,there was a perceptible view the Ming poetry had reached the level of the Tang poetry,which could be termed the Argument of Matching Ming-Tang poetry.In such works as Hu Yinglin’s Treasure of Poetry and Mao Yuchang’s Poetics in Miscellaneous Words,theauthors deemed that the Ming poetry,worthy to be juxtaposed with the Tang Dynasty,had already surpassedthe Song and Yuan Dynasties,and the Jiajing reign period became another prosperous time in poetry afterthe Kaiyuan period.This viewpoint indicated that the concept of imitating the ancients and restoring the old ways was deeply rooted in people’s minds,and the archaist poetic movement in the Ming Dynasty is greatlydifferent from that in the previous dynasties.Meanwhile,it also suggested a new perspective for rethinkingthe value of the archaists of the Ming Dynasty in the development of poetic theory.

关 键 词：明代唐诗学 唐、明并论 《诗薮》 《诗学杂言》 

分 类 号：K248[历史地理—历史学] I207.22[历史地理—中国史]