论梅尧臣、苏舜钦与欧阳修书写现实题材的不同立场  

On the Different Positions of Mei Yaochen,Su Shunqin and Ouyang Xiu in Writing about Realistic Theme

作　　者：张明华 ZHANG Ming-hua(School of Chinese Language and Literature,Minnan Normal University,Zhangzhou 363000,Fujian)

机构地区：[1]闽南师范大学文学院,福建漳州363000

出　　处：《阜阳师范大学学报（社会科学版）》2022年第2期74-82,共9页Journal of Fuyang Normal University：Social Science

基　　金：安徽省哲学社会科学规划重点项目“‘宋调’之建构与解构”(AHSKZ2019D025)。

摘　　要：梅尧臣、苏舜钦与欧阳修在开创“宋调”时即表现出对现实题材的高度关注,但其侧重点又有所不同:梅尧臣描绘农民的不幸遭遇,同情之中带有自责;苏舜钦批判时弊,将矛头指向制度弊端和当权者的无能;欧阳修反映社会中存在的弊端和不公,寄希望于皇帝和宰相加以改善。三人各有侧重,彼此互相补充,既丰富了现实题材的内涵,又使其成为“宋调”的一种重要特征从而与“宋初三体”明显区别开来。Mei Yaochen,Su Shunqin and Ouyang Xiu showed a high degree of concern for realistic theme when they created The Poetic Styles of Song Dynasty,but their emphases were different:Mei Yaochen portrayed the unfortunate experiences of farmers,blaming himself while showing sympathy;Su Shunqin criticized the problems of his time,pointing the finger at the shortcomings of the system and the incompetence of those in power;Ouyang Xiu reflected the shortcomings and injustices in the society,hoping that the emperor and the prime ministers would improve them.The three people had their own emphases and complemented each other,which not only enriched the connotation of realistic theme,but also made it an important feature of The Poetic Styles of Song Dynasty,which was clearly different from the Three Poetic Styles of Early Song Dynasty.

关 键 词：开创“宋调” 描绘 批判 讽谕 

分 类 号：I207[文学—中国文学]