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有清一代对许浑的评论,比之前代更显客观中正;这与清代学者兼容并蓄的诗学观念有关。清代对许浑的批评可分为三类:第一继承明代复古诗风,对许浑仍持否定态度,以王夫之、吴乔、黄子云、鲁九皋等人为代表。第二审度前人评论,以客观的眼光重新评价许浑,以杜庭珠、田雯、贺裳为代表。第三对许浑辩证评价,且以褒赞居多。这代表了大部分清代学人对许浑的批评态度:能以更开放的接受眼光,对历来饱受争议的许浑及其作品进行辩证而客观的评价。当然,清人即使在更广范的意义上接受许浑,其赞誉亦是有所保留的,在肯定许浑诗的同时,亦提出批评意见,断不会出现如南宋范晞文那样的溢美之词。这从一个侧面反映了清代学者严谨而内敛的诗学态度。
There is a generation of comments on Xu Hun, more objective than the previous generations in the Chiang Kai-shek; this is compatible with poetic ideas of Qing scholars. The critique of Xu Hun in the Qing Dynasty can be divided into three categories: the first to inherit the poetic style in the Ming Dynasty, and still hold a negative attitude towards Xu Hun, represented by Wang Fuzhi, Wu Qiao, Huang Ziyun and Lu Jugao. The second review of previous comments, with an objective re-evaluation of Xu Hun muddy eyes to Du court beads, Tian Wen, He Sang represented. The third pair Xu Hun dialectical evaluation, and mostly praise. This represents most of the critics of Xu Hun in the Qing Dynasty: a more open and acceptable perspective can be used to dialectically and objectively evaluate the often controversial Xu Hun and his works. Of course, even though the Qing people accepted Xu Hun in a broader sense, their praise was reserved. While affirming Xu Hun’s poem, they also put forward criticisms and did not give any glorious words like Fan Fanwen in the Southern Song Dynasty . This reflects from one side of the Qing Dynasty scholars rigorous and restrained poetic attitude.