南朝“诗运转关”中的颜延之——兼谈颜延之诗体演进之功  

Yan Yanzhi in the“Poetry Changes”of the Southern Dynasty and His Contribution to the Evaluation of Poetic Style

作　　者：张煜 孟庆丽[1] ZHANG Yu;MENG Qingli(College of Literature, Liaoning University, Shenyang 110136, China)

机构地区：[1]辽宁大学文学院,辽宁沈阳110136

出　　处：《沈阳大学学报（社会科学版）》2021年第4期464-469,共6页Journal of Shenyang University:Social Science

基　　金：辽宁省社会科学基金资助项目(L11AYY005)。

摘　　要：通过追溯史部文献对颜延之的评价和集部文献对颜延之诗作的选录情况,阐述了颜延之作为“庙堂诗人”的诗坛地位;从诗歌写法转变的视角分析了颜延之诗歌在一定程度上改变了以诗谈玄的不良风气,成为近体诗定型过程中的重要环节;反思了历史上的“颜谢优劣论”,指出谢灵运诗歌与颜延之诗歌分别代表了“感发兴会”与“思索安排”两种不同的创作思路,认为颜延之的诗歌为诗歌体式的演进过程提供了切实有效的路径,相较之下更具意义。Through tracing back to the evaluation of Yan Yanzhi in historical books and the selection of his poems in collections,this article expounds his position in the poetic circle as a“court poet”.From the perspective of the transformation of poetry writing,it analyzes that Yan Yanzhi's poems have changed the unhealthy trend of talking about metaphysics by poetry to a certain extent,and become an important link in the process of shaping modern poetry.Reflecting on the historical theory of superior and inferior between Yan Yanzhi and Xie Lingyun's poems,it points out that they represent two different poetic writing ideas,namely inspiration and arrangement.It believes that Yan Yanzhi provides a practical and effective path for the evolution of poetic styles,which is more meaningful comparatively.

关 键 词：南朝 诗运转关 颜延之 谢灵运 诗体演进 

分 类 号：I207.22[文学—中国文学]