摘要
在明初文坛，李东阳创立的茶陵派，以格调作为诗评的手段，对其后诗学走向影响颇深。李把前人诗论中屡屡出现、但多单列的“格”、“调”两字，合铸为一个相对稳定搭配的“格调”一词，形成特有的格调论诗学，对七子以后复古主义文学创作、理论生成及批评实践，意义重大。
李东阳的“格调论”，以对作品的精读默察为基，以“具耳”和“具眼”为途，来辨别诗文的“格调”与“时代格调”，进而辨析各种诗歌体裁的思想品质、艺术风格，具有明确的辨体意识，对人们更为细微地把握古典诗歌的美学特质，提供了行之有效的工具。
李东阳诗学研究，目前成果甚为丰厚，但单篇论述为多，综合分析较少，本文试图较全面地认识其诗学价值，拟从以下几方面考量其诗学意义：
绪论，对李东阳的生平和著述稍作介绍，然后说明目前李东阳研究的现状与存在问题，说明选题的意义。
第一章，宏观认识明前期的政治文化与文学思潮状况，为认识李东阳诗学提供历史背景。明初统治者施行政治文化专制，大力提倡程朱理学，严重控制了士人的言行，使得元末所形成的自由文学风气戛然而止，文学的发展方向也被迫换舵改航，而各种文人集团和诗学流派则希望通过复古改变诗坛的低迷沉寂，他们师法的对象则由宗汉魏、法唐诗转变至宗盛唐、黜宋诗，并在复古的同时开启了格调论诗这一风气，李东阳是首倡者。
第二章，从复古与通变这一角度，对李东阳格调诗论观照。李东阳师法古人的整体倾向是宗汉魏、盛唐，但也不排斥宋元佳作，然而，他强调师古时不能字字句句模拟古人，要往复吟咏古人的诗歌，然后心领神会，自有所得，留有自由发挥的余地。
第三章，从辩体与遣意这一角度，对李东阳用“具眼”和“具耳”来解释格调进一步说明。李东阳认为“格”的含义应该包括体格、风格、格律、格力，甚至还包括诗意，而“调”的含义应该包括韵律、节奏、声调。较之“格”，李东阳更重视诗歌的“调”，即重视诗歌的音乐属性，并表现了情以发声而为诗的主情观、以声辩体的辩体意识和以声述法的诗法观。
第四章，为了进一步认识李东阳格调论的意义，将其纳入到中国诗学史的视野，认识其对前七子的影响和沈德潜的影响。前七子尤其是何景明在复古中拟议变化之说，是对李东阳格调论的响应，而其拟议之法即在把握前人诗之格调。沈德潜格调说的提出，既从美学特质方面吸纳了明人因素，又羼杂了传统伦理道德因素，其格其调莫不呈现复中求变之势。
In the literary circles of early Ming Dynasty, Chaling School, founded by LiDongyang, adopted the theory of style-and-tune to give comments on poetries, whichhad a great influence on the poetics tendency thereafter. Li Dongyang combined“style” and “tune”, scattered and mostly listed separately in previous poetics, into astable phrase “style-and-tune” and formed a unique style-and-tune poetics, whichaffected Seven Master School and Classicist School on literary creation, theoreticalformation and critical practice profoundly.
Based on intensive reading of works, the “style-and-tune” theory of Li Dongyangmade use of “ears” and “eyes” to identify “style-and-tune” and “era’s style-and-tune”of poetry and articles and then further distinguished the thoughts and art styles of allkinds of literary forms. With explicit sense of identifying the literary form,“style-and-tune” theory offered a available way for people to grasp estheticscharacteristics of classical poetry much more finely and effectively.
As for the studies of Li Dongyang’s poetics, the research results are fairly richwhile single article discussions are much more than comprehensive studies. So, thispaper will try to study his poetics value comprehensively, which will probe thesignificance of his poetics from the following aspects.
The exordium will introduce Li Dongyang’s life and works and then show thecurrent research status, existing problems and the significance of this subject.
Chapter I aims to master the politics and cultures as well as Literary Trends inearly Ming Dynasty, which will offer the background for the research of LiDongyang’ poetics. As the rulers in early Ming Dynasty implemented political andcultural tyranny and strongly advocated Cheng-Zhu Neo-Confucianism, the thoughtsof scholars were heavily controlled, free literature atmosphere formed in late YuanDynasty was forced to end abruptly and the literary trends was also forced to changeits ways. So, with the hope of changing the dead statue of poetry circle, all kinds ofliterati groups and poetics schools choosed to restore to ancient forms of writingpoetries and they started to esteem the poetries of Hanwei and Tang Dynasty and then changed to imitate the poetries of the flourishing period of Tang Dynasty and oust thepoetries of Song Dynasty. During the period of restoring ancient forms, style-and-tunepoetics was put forward correspondingly and Li Dongyang was the initiator.
Chapter II will view Li Dongyang’s style-and-tune poetics from the aspect ofrestoring ancient forms and variation. The general tendency of his restoring ancientforms was to learn the poetries of Hanwei and the flourishing period of Tang Dynasty,but at the same time he also paid some attentions to the excellent poetries of SongDynasty. However, he emphasized that while studying and learning the ancient works,we should read the poems aloud repeatedly to understand and comprehend themthoroughly, not just imitating them word by word as well as sentence by sentence. Inthis way, he believed, we could receive a lot and get more possibilities to express ourideas freely.
Chapter III will further illustrate that how Li Dongyang uses “ears” and “eyes” toexplain “style-and-tune” from the aspect of identifying the literary form and revealinghis thoughts. He believed that what “style” should include would be genre, style,metrical pattern, writing strength and even the connotation of poem and what “tune”should include would be rhythm, cadence and tone. Compared with “style”, LiDongyang obviously paid more attention to “tone”, namely, the musical characteristicof poetry. His “style-and-tune” theory had represented the lyricism of feeling to sound,the sense of identifying the literary form with sound and the view of articulating thepoetic technique through sound.
For further recognizing the significance of Li Dongyang’“style-and-tune” theory,the last chapter will bring him into the field of the history of Chinese poetics to showhis impact on Former Seven Master School and Shendeqian. Former Seven MasterSchool, especially He Jingming, in the field of restoring ancient forms, was excatly inline with the “style-and-tune” theory of Li Dongyang due to his idea of restoringancient forms to variation. What’s more, the ways he learned the poetries of ancientswere also based on grasping the style-and-tune of ancients’ poetries. The“style-and-tune” theory of Shendeqian not only absorbed aesthetics characteristicsfrom Ming Dynasty, but also mixed up with traditional ethical and moral factors. His “style-and-tune” theory also appeared to follow the trend of restoring ancient forms tovariation.
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