汉音、魏响与别调:沈德潜对魏诗的分期与定位  

Han-yin,Wei-xiang and Bie-diao: Shen Deqian’s Staging and Evaluation of Wei Poetry

作　　者：叶飞[1] 王宏林 YE Fei;WANG Hong-lin(College of Literature,Henan University,Kaifeng,Henan 475001,China)

机构地区：[1]河南大学文学院,河南开封475001 [2]河南大学文学院国学研究所,河南开封475001

出　　处：《苏州大学学报（哲学社会科学版）》2021年第1期149-158,共10页Journal of Soochow University(Philosophy & Social Science Edition)

基　　金：国家社会科学基金项目“清代诗学关键词的衍变与价值研究”(项目编号:19BZW003)的阶段性成果。

摘　　要：沈德潜将魏诗定位为"汉音""魏响""别调"三种审美典型,迥异于前人。曹操乐府诗对"俗乐"的赓续,"以诗写史"的实录精神,是构成"汉音"的重要因素。曹丕、曹植轻合乐而尚音韵,淡化叙事而侧重情感抒发,尚作用而远自然,由慷慨激昂转向温婉轻靡的审美取向,构成了"魏响"的核心要义。阮籍融随兴寓言、玄思意趣于一体,比、赋连用的表现手法,形成了"别调"的独特风貌。沈德潜以"汉音""魏响""别调"定位魏诗,体现了其所代表的清代格调派取法更广的诗学倾向,纠正了前代诗学以"建安风骨"代指魏诗的偏颇,更加准确地揭示出魏诗的总体特征、流变轨迹和艺术价值。Shen Deqian defines Wei poetry with three aesthetically typical features:Han-yin(Han music),Weixiang(Wei sound),and Bie-diao(special rhetorical style),the definition of which is very different from the traditional positioning of Wei poetry.The continuation of using popular music in Cao Cao’s Yuefu poetry and the spirit of recording history with poetry constitute the inner meaning of Han-yin.Cao Pi and Cao Zhi’s advocation of rhyme and rhythm instead of cooperating with music,dilution of the narrative and focus on the emotional expression,emphasis on the natural and profound effect,and aesthetic transition from being impassioned to being gentle and less extravagant,constitute the core meaning of Wei-xiang.Ruan Ji mixed the fable and metaphysical interest into one,and combined the expression techniques such as Bi and Fu,which formed the special features of Bie-diao.That Shen Deqian positioned Wei poetry with Han-yin,Wei-xiang and Bie-diao reflected the more far-ranging tendency of the poetics than Qing Dynasty style represented by him.It corrected the bias of traditional poetics in substituting Wei poetry with the"Jian’an style",so it more clearly reveal the general characteristics,the trace of evolution,and the artistic value of Wei poetry.

关 键 词：沈德潜 魏诗 汉音 魏响 别调 

分 类 号：I207.22[文学—中国文学]