李商隐对齐梁歌行的复归及其诗学意义  

On Li Shangyin's Reversion to Qiliang Gexing and Its Poetic Significance

作　　者：上官国风 Shangguan Guofeng

机构地区：[1]北京大学中文系,北京100871

出　　处：《中华文化论坛》2024年第5期66-75,共10页Journal of Chinese Culture

摘　　要：李商隐“长吉体”古体歌行长期作为整体被接受,后人对部分诗歌体式的判断存在分歧。事实上,篇名与作法中蕴含着李商隐关于“歌”“诗”的辨体意识。《烧香曲》等有歌辞性题目的作品强调体物与讽刺,放弃了个体抒情叙事,在效法长吉体的基础上复归齐梁歌行,被义山视为歌行。《燕台诗》等虽汲取齐梁歌行体调,但具有强烈个体抒情性,被他视为“诗”。随着近体诗律成熟定型,歌行体的独立性面临挑战。中晚唐以降,歌行在诗体互参中失去自身定位,难与古体区分。温、李等人对齐梁血脉的复归窄化了歌行表现能力,无力阻挡歌行体裁独立性的失落。但在晚唐至北宋诗体演进轨迹中,李商隐的歌行观念具有独特的诗学意义。For a long time, Li Shangyin's “Changji Style” poetry has been accepted as a whole, as there were certain discrepancies in the judgement of its poetic style among later generations. In fact, through the titles and styles of these poetries, we could find Li's awareness of identifying “Ge” and “Shi”. Works with lyric titles, such as Shaoxiang Qu, which emphasized physicality as well as irony and abandoned individual lyrical narrative, showed the reversion to Qiliang Gexing on the basis of Changji Style, and Li defined them as Gexing. Other works, such as Yantai Shi, though imitated Qiliang style, were strongly lyrical, so Li considered them as “Shi”. Since the regulated pattern of modern-style poetry advanced towards maturity, the independence of Gexing has been challenged. After the Middle and Late Tang Dynasty, Gexing lost its position in the cross-reference among different poetic styles, which has made it difficult to distinguish it from ancient-style poems.Wen Tingyun and Li Shangyin's reversion to Qiliang Gexing narrowed the expressiveness of Gexing, which was unable to prevent the loss of its independence. Nevertheless, in the evolution process of poetic styles from the Late Tang Dynasty to the Northern Song Dynasty, Li's concept of Gexing has a unique poetic significance.

关 键 词：李商隐 歌行 近体诗律 齐梁 

分 类 号：I206[文学—中国文学]