以文为诗,以诗为词,以古为律:清代诗话的破体观念论析  

Taking Prose as Poetry,Poetry as Ci,and Ancient Poetry as Rhythmic Poetry:An Analysis of the“Style-Breaking”Concept in Qing Dynasty Poetry Notes

作　　者：任竞泽[1] 李增 REN Jingze;LI Zeng(College of Literature,Shaanxi Normal University,Xi’an 710119,Shaanxi)

机构地区：[1]陕西师范大学文学院,陕西西安710119

出　　处：《厦门大学学报（哲学社会科学版）》2024年第1期158-172,共15页Journal of Xiamen University(A Bimonthly for Studies in Arts & Social Sciences)

基　　金：国家社会科学基金后期资助项目“中日韩诗话的文体史料与文体观念”(19FZWB042)。

摘　　要：清代诗话是清代文体史料及文体批评的渊薮,其中破体观念在清诗话文体理论中又最为突出和独具特色。目前学界整理的煌煌16册174种清诗话中论及以文为诗、以诗为词、以古为律及其对立范畴以诗为文、以词为诗、以律为古等破体批评的诗话就多达63部,贯穿整个清代诗话史和诗学史。清代诗学史上具有重要学术地位的学者诸如王夫之、叶燮、王士祯、沈德潜、赵翼、翁方纲、潘德舆等,在对相关破体范畴进行文体批评时,往往褒贬倾向不一,或肯定,或否定,或辩证看待,引发了旷日持久的学术争鸣,并在演进递嬗中形成了系统的破体观念体系,堪称中国古代破体理论的集大成和总结者。这对于纵向观照和比较研究宋元明诗话破体观念具有重要的文体批评史学术价值和理论意义。Qing Dynasty poetry notes serves as a valuable historical source for stylistic materials and criticism.One of its most prominent and unique features is the“style-breaking”concept.Among the 174 books on poetry notes in the 16 collections organized by scholars,as many as 63 involve taking prose as poetry,poetry as ci,and ancient poetry as rhythmic poetry,as well as the oppo⁃site categories of taking poetry as prose,ci as poetry,and rhythmic poetry as ancient poetry.These poetry notes span the entire his⁃tory of poetry and poetics in the Qing Dynasty.Esteemed scholars in Qing Dynasty poetics,including Wang Fuzhi,Ye Xie,Wang Shizhen,Shen Deqian,Zhao Yi,Weng Fanggang,and Pan Deyu,offer positive,negative,or dialectical criticisms of these stylistic categories.Their complex ideas on style sparked extensive academic debates and formed a systematic“style-breaking”concept sys⁃tem,representing a synthesis and summary of ancient Chinese theories on“style-breaking.”This analysis and comparison of the“style-breaking”concept in the poetry notes of the Song,Yuan,and Ming Dynasties holds significant academic and theoretical val⁃ue for the history of stylistic criticism.

关 键 词：清代诗话 以文为诗 以诗为词 以古为律 破体观念 

分 类 号：I207.22[文学—中国文学] K244[历史地理—历史学]