从诗韵视角看“诚斋体”的生成路径  

The Generation Path of"Cheng Zhai Style"from the Perspective of Poetic Rhyme

作　　者：黄金灿 HUANG Jin-can(Department of Literature,South China Normal University,Guangzhou 511400,Guangdong)

机构地区：[1]华南师范大学文学院,广东广州511400

出　　处：《江南大学学报（人文社会科学版）》2022年第6期106-113,共8页Journal of Jiangnan University：Humanities & Social Sciences Edition

基　　金：中国博士后科学基金资助项目“历代韵书型类书研究”(2020M672665)。

摘　　要：杨万里对诗歌用韵问题有独到见解,在诗歌创作中也有丰富的用韵实践。杨万里抵制次韵唱和,为“诚斋体”营造了自由的生长空间;而他有意识地坚持创作韵式新颖的辘轳体、进退格,则进一步拓展了“诚斋体”的容量,从而丰富了“诚斋体”的内涵。前者是基于反拨江西诗风的现实需要,后者是源自以“晚唐体”纠宋诗之弊的诗学理想,二者共同为“诚斋体”的生成路径规定了方向。Yang Wanli had unique insights into the issue of rhyming in poetry,and he also had a wealth of rhyming practice in poetry creation.Yang Wanli resisted the follow-rhyme poem and created a free growth space for the"Cheng Zhai style";while he consciously insisted on creating the new rhyme styles(one is called roll style and the other is called forward-and-backward frame),which further expanded the capacity of the"Cheng Zhai style"and enriched it.The former is based on the realistic needs of reversing Jiangxi poetic style,and the latter is derived from the poetic ideal of using the"late Tang style"to correct the malpractices of Song poetry.The two styles together set the direction for the generation of"Cheng Zhai style".

关 键 词：杨万里 诚斋体 诗韵 次韵 辘轳体 进退格 

分 类 号：I207[文学—中国文学]