梅尧臣与“白战体”  

Mei Yaochen and the“Baizhan Style”

作　　者：沈章明 Shen Zhangming

机构地区：[1]华东师范大学教育学部,上海200062

出　　处：《华东师范大学学报(哲学社会科学版)》2025年第2期121-132,181,182,共14页Journal of East China Normal University(Humanities and Social Sciences)

摘　　要：欧阳修提倡“白战体”,意在革除诗弊,形成新的诗学风尚。梅尧臣将欧阳修发起的“白战体”唱和视作文字游戏,却在咏雨、咏雪时积极使用“白战体”手法。他专注于当下,求新而不去旧,积极接收、转化文学遗产,追求“新陈相生”;欧阳修、苏轼则崇尚竞争,有选择地接受“过去”,积极“推陈出新”,在当下创造未来。这是宋代诗学发生发展的两种机制。受此影响,梅尧臣的诗风以“闲肆平淡”为主,晚年趋向“奇特”。“闲肆平淡”不同于苏轼的“平淡”,“奇特”也不同于欧阳修、苏轼追求的“奇丽”。Ouyang Xiu advocated for the“Baizhan Style”,a poetic style that prohibits the use of common concrete imagery,with the intention of eliminating poetic flaws and establishing a new poetic trend.Mei Yaochen regarded Ouyang Xiu’s initiation of the“Baizhan Style”as merely a word game.Nevertheless,he actively employed the techniques of this style in his poems about rain and snow.Mei focused on the present and pursued the coexistence of the new and the old,that is to say,he sought innovation without discarding the old by actively absorbing and transforming literary heritage.In contrast,Ouyang Xiu and Su Shi valued competition.They selectively embraced the“past”and actively“bringing forth the new through the old”,thereby creating the future in the present.These represent two mechanisms for the evolution and development of Song Dynasty poetics.Influenced by this,Mei Yaochen’s poetic style was primarily characterized by“leisurely simplicity and plainness”,which in his later years tended toward the“peculiar”.Mei’s“leisurely simplicity and plainness”differed from Su Shi’s“plainness”,and his“peculiar”also diverged from the“splendid beauty”pursued by Ouyang Xiu and Su Shi.

关 键 词：梅尧臣 白战体 新陈相生 闲肆平淡 

分 类 号：I20[文学—中国文学]