接受视域下的徐祯卿“江左风流故自在”现象探究  

On the Poetic Style from the Lower Reaches of Yangze River in Wei-jin Period by Xu Zhengqing from the Perspective of Acception

作　　者：史小军[1] 刘茜 SHI Xiaojun;LIU Qian(College of Liberal Arts,Ji′nan University,Guangzhou,Guangdong,China 510632)

机构地区：[1]暨南大学文学院,广东广州510632

出　　处：《昆明学院学报》2022年第1期104-111,共8页Journal of Kunming University

基　　金：2020年国家社科基金年度项目“明代前后七子羽翼研究”(20BZW094)。

摘　　要：徐祯卿为"吴中四才子"之一,加入以李梦阳为首的复古派之后,诗歌取径由早年的六朝、中唐、晚唐"改趋汉魏、盛唐",但仍然表现出明显的"江左风流"特色,与李梦阳代表的北地雄健之风格格不入。钱谦益评此现象为"江左风流故自在"。诗歌取径对象、身份、地域以及倡和交游等均是徐祯卿诗歌"江左风流"形成与转变的重要因素。徐祯卿诗歌风貌的改变及其诗学探索的价值不仅在于为七子派复古诗坛吹进一阵清新之风,还在于开启了吴中诗风丕变的先机,其总结和反思诗学实践的《谈艺录》也是复古派诗学理论的重要成果。Xu Zhenqing, one of the four talents in Wuzhong area, imitated the poems of Han-Wei Dynasty and the heyday of the Tang Dynasty rather than the poems of six Dynasties or the middle and the late Tang dynasty after joining the Seven-Poet School. The poetic style from the lower reaches of Yangze River in Wei-jin Period in Xu Zhenqing′s poems is obvious, different from the bold writing represented by Li Mengyang. Qian Qianyi gives his comment. The important factors of this literary feature include poetry acceptance, status, region and social activities. The change of Xu′s poetry style and his poetic exploration were of great significance for both Seven-Poet School and school of Wuzhong, and it brought the natural writing to the former and the retro trend to the latter. The poetic work by Qian zhongshu was also the important fruit of the literary restoration school.

关 键 词：徐祯卿 接受视域 江左风流 七子派 谈艺录 

分 类 号：I207.22[文学—中国文学]