“粹然一正”与郝经的“风雅”诗学——从《遗山墓铭》对元好问诗作的评价说起  

“Return to Elegance”and Hao Jing’s“Fengya”Poetics:Evaluation of Yuan Haowen’s Poems in Yishan’s Epitaph

作　　者：侯文宜[1] 王雅丽 HOU Wenyi;WANG Yai(School of Chinese Language and Literature,Shanxi University,Taiyuan 030006,China)

机构地区：[1]山西大学文学院,山西太原030006

出　　处：《中北大学学报（社会科学版）》2024年第1期22-27,共6页Journal of North University of China：Social Science Edition

基　　金：国家社会科学基金项目:宋元理学视阈下的郝氏家学与郝经诗文理论研究(17BZW045)。

摘　　要：“粹然一正”是元代批评家郝经诗学的一个重要命题,它既是对元好问诗作的一种评价,也潜含于郝经其他诸篇诗论中,与风雅、雅正相关联,共同构成其对“风雅”诗学的传承与弘扬。面对金元战乱冲击和传统文化的断裂,文化救世是当时士人群体的选择,郝经以宗经为本力倡“性情风雅”说,批评萎坠浮艳“尽有作为之工”的诗风,突出体现了元初北方之学以及诗文审美的变革。“Return to elegance”is an important poetical topic of Hao Jing,a critic in the Yuan dynasty.It is not only an evaluation of Yuan Haowen’s poems but also an inheritance and development of“Feng Ya”poetics,implied in other poetic treatises,and in association with the concepts of“Feng Ya”and“Ya Zheng”.Faced with the upheavals of the Jin-Yuan transition and the rupture of traditional cultures,the cul-tural salvation was the choice of the literati at the time.Hao Jing advocated“elegant and temperament”works on the basis of Confucian classics,and criticized dispirited,pompous and“artificial carving”poetic styles.This embodies the reforms of the Northern Learning and poetic aesthetics in the early Yuan dynasty.

关 键 词：“粹然一正” 郝经 “风雅”诗学 元好问诗作 

分 类 号：I207.22[文学—中国文学]