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在对李梦阳诗学的评价中出现了一种重格调或重情感的“二难”现象。实际上李梦阳诗学本身并不存在这样的矛盾。他论格调是在重倡生动有力、富于批判精神的儒家传统诗学的框架内展开的。对新兴市民文学的认同,正源自于李梦阳对传统儒家诗学的深刻理解,其思想的敏锐性亦来自于对儒家诗教中风雅颂三体之别的深刻体认。对《潜虬山人诗序》的再解读,可证明清诗学格调、神韵两派之分,颇为牵强。李梦阳诗学不能简单概括为格调论。
In the evaluation of Li Mengyang’s poetics, there appeared a kind of “dilemma” phenomenon which was heavy emphasis or heavy emotion. In fact, Li Mengyang poetics itself does not exist such a contradiction. His theory is carried out within the framework of rekindling the vivid and critical Confucian traditional poetics. The recognition of emerging citizen literature comes from Li Meng-yang’s deep understanding of traditional Confucianism. His acumen is also derived from the profound understanding of the difference between the three themes in the Confucian poetic teaching. The re-interpretation of the “Dianyu Mountain Poetry Preface” can prove Qing poetics style, the charm of the two schools of points, quite far-fetched. Li Mengyang poetics can not be simply summed up as style theory.