“晚节渐于诗律细”与“老去诗篇浑漫与”——论杜甫晚年律诗和绝句创作的两种倾向  

Two Tendencies in Du Fu’s Late-period Creation of Regulated Verses and Quatrains

作　　者：葛景春[1] GE Jingchun

机构地区：[1]河南省社会科学院文学所

出　　处：《杜甫研究学刊》2023年第3期1-10,26,共11页Journal of Du fu Studies

摘　　要：在杜甫晚年对律诗和绝句的创作中,存在着两种不同的创作倾向。一种是“晚节渐于诗律细”,另一种是“老去诗篇浑漫与”。前一种现象,主要表现在他的五律、七律和五言长律上。他绝大部分律诗作品,都是格律严谨的正体的律诗,为唐代的律诗创作树立了学习的榜样和标准;而其少部分的拗体律诗尤其是在其拗体七律上,做了一些格律和声律上的松动和变格,其“吴体”诗有去声律化的倾向;而其五绝有对仗律诗化的现象、其七绝则受民歌的影响,出现了不少拗体或古体七绝,显示了杜甫晚年的律诗和绝句创作既守正又革新的艺术特征。Du Fu shows two distinct tendencies in his regulated verses and quatrains in his late-period:one is a meticulous adherence to poetic rules while the other is the unrestrained charm of verses.The former is primarily manifested in his five-character regulated verse,seven-character regulated verse,and five-character long regulated verse.The majority of his regulated verse works strictly adhere to established patterns and serve as an example and standards for regulated verse in the Tang dynasty.However,in a few instances,particularly in his regulated verse with irregular rhythm,he employs a looser approach to metrical and tonal constraints,revealing a tendency towards de-tonalization.Additionally,his five-character quatrains exhibit characteristics of regulated verse,while his seven-character quatrains show influences from folk songs,with a notable presence of regulated verses that do not conform to the rule of conventional versification or archaic forms.These artistic features demonstrate Du Fu’s maintenance of tradition and innovations in his late-period creation of regulated verses and quatrains.

关 键 词：杜甫 律诗绝句 诗律细 浑漫与 守正与革新 

分 类 号：I207.22[文学—中国文学]