论李白诗歌的对仗与复古  

A Discussion on Literary Parallelism and Antiquarianism in Li Bai's Poetry

作　　者：辛晓娟[1] XIN Xiaojuan(School of Chinese Classics,Renmin University of China)

机构地区：[1]中国人民大学国学院

出　　处：《中国人民大学学报》2024年第4期138-148,共11页Journal of Renmin University of China

基　　金：国家社会科学基金重大项目“中国古代都城文化与古代文学及相关文献研究”(18ZDZ237)阶段性成果。

摘　　要：李白并非“无意属对”,而是以自己的个性发展改造了汉魏以来的对仗艺术。他对对仗艺术的开创与经营既见于律体、也见于古体诗的创作。他在使用对仗时有意模糊了古体与近体的界限,以求达到整伤美与流动美的统一。一方面,李白以古行律,打破诗句工整性,以意脉的跳脱流动,转移了读者对偶对的关注,为律体增加了摇电流动之态。另一方面,李白又充分吸纳了六朝至初唐的对仗手法,将之大量用于古体创作,发展了古体诗歌艺术,从而调和古、近体之间的矛盾,实现了抒情言志的自由。李白在诗歌对仗艺术方面的开拓,是他熔铸古今的诗学实践的重要组成部分。Li Bai does not neglect the art of literary parallelism in his poetic writing.He personalized and transformed use of it instead.His creative employment of literary parallelism appears in the writing of both older style of poetry and regulated verses.Li Bai intentionally blurred the distinctions between old style of poetry and regulated verses to achieve aesthetic harmony in his use of literary parallelism.On the one hand,he breaks the neatness of verses,shifting the reader's focus from couplets to the flowing quality of regulated verses on the other hand,Li Bai fully absorbed the art of literary parallelism from previous generations in his writing of older style of poetry.This development reconciled the contradictions between older-style poetry and regulated verses.Accordingly,he enhanced the freedom of lyrical expression and articulation of personal will.Li Bai's pioneering exploration in the art of literary parallelism constitutes a significant part of his poetic writing.

关 键 词：李白 对仗 古近体 以古行律 

分 类 号：I207.22[文学—中国文学]