从“正变”到“真伪”:论盛唐李、杜诗论中的“真伪之辨”  

From“Orthodoxy with Variants”to“Genuineness and Imitation”:On the“Distinction of Genuineness and Imitation”in Li Bai and Du Fu’s Poetics in the High Tang

作　　者：谷维佳 GU Wei-jia(School of Chinese Language and Literature,South China Normal University,Guangzhou 510006,China)

机构地区：[1]华南师范大学文学院,广东广州510006

出　　处：《兰州大学学报（社会科学版）》2021年第4期129-138,共10页Journal of Lanzhou University（Social Sciences）

摘　　要：李白在《古风》其一《大雅久不作》篇,其三十五《丑女来效颦》篇和其五十《宋国梧台东》篇,分别提出了崇尚"清真""天真""贞真"的诗歌理论要求,其"真"意包含"正""真""自然"三个层面。杜甫《戏为六绝句》其六又提出"伪体"概念,倡导"别裁伪体亲风雅",与李白"真"意一体两面,相反相成。以二人为代表,盛唐诗论中潜涌着一股甄辨诗歌"真伪"的努力。我国古典诗歌源头倡导"正变",至李、杜首辨"真伪",诗论内核悄然发生了质的转关。"真伪之辨"延续至晚唐,并直接影响到宋、元、明、清诗评家、学诗者和编选者的诗歌评判标准和选编态度。In the first, the thirty fifth and the fiftieth poems of his poetry anthology Fifty-nine Ancient Style Poems, Li Bai held that poetry should present"genuineness", which contains three levels of meaning: orthodoxy, genuineness and naturalness. In the sixth quatrain of his Six Quatrains, Du Fu coined the concept"imitation ", and advocated that the imitated ancient-style poems should be distinguished from the genuinelycreated ones. As the contradictory two sides of a coin, the two concepts"genuineness"and"imitation"affected the High Tang poetics, and there was a trend of distinguishing the"genuine"from the"imitated". Thus Chinese poetics had a qualitative switch from the promotion of" orthodoxy with variants "of the earliest classical poetry to the" distinction between the genuine and the imitated "initiated by the two great poets in the High Tang. Lasting till the Late Tang, the distinction influenced the poetry-commenting criteria and poetry-selecting attitudes of the poetry critics, learners and anthologists.

关 键 词：李白 《古风》 杜甫 《戏为六绝句》 正变 真伪 

分 类 号：I106.2[文学—世界文学]