试论元嘉诗歌
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摘要
中古诗歌从东晋枯淡的玄言诗向萧齐流畅自然的永明体诗的过渡，从魏晋的“雅”向齐梁的“俗”的过渡，发生在刘宋时期。这一时期又可分为两个阶段，元嘉时期和大明、泰始时期。元嘉三十年则有承前启后的作用，大明、泰始时期正可看作元嘉后期诗风之继续与发展。
元嘉前期分别以谢灵运、颜延之为代表，呈现出若干诗风并存的局面：典雅一派，山水一派。山水诗作，以谢灵运为代表，典雅诗作以颜延之为代表，二者在艺术追求上却有许多不谋而合之处：追求摹写外物形似，词语的生新，诗歌意象的分散支离——总之在整体上讲，元嘉前期诗歌是以恢复西晋诗歌传统为主，其他诗风为辅，它更多属于承前一面。
元嘉后期，在继承前期的基础上有了许多新变，诗坛以鲍照、颜延之为代表。颜延之由于人生遭际不偶，创作出了不同于前期的诗作，而鲍则由于出身孤寒，从不同侧面反映出那个时代由贫寒之士向上爬升的过程中所显示的复杂的精神世界。元嘉后期不仅在诗歌精神上变革了前期的颓势，在艺术追求上也出现了许多新的倾向，而这些倾向则经过大明、泰始的发展，最终演变为永明诗体。这些新的艺术追求包括：篇幅日益短小精悍，语言渐趋自然(与生新对)，意象逐渐统一完善，音节逐渐流畅。但前后期有一相通处即是极为重视诗歌对具体物象摹写的功能。本文在分析这些变化的基础上，又进而试图从社会变迁影响诗人命运(而诗人则直接影响诗歌)这个角度，阐释元嘉诗风演变的深层原因。
Transitions from the dry and abstract metaphysical poetic style in East Jin Dynasty to the smooth and natural Yong Ming poetic style in Nan Qi dynasty; from the "elegant" style in Wei and Jing Dynasties to the "secular" style in Qi and Liang dynasties, took place in Liu and Song dynasties, which can be divided into two phases: Yuan Jia phase and Da Ming, Tai Shi phase. The 30th year of Yuan Jia serves as a link between past and future; and Da Ming, Tai Shi can then be viewed as the continuation and development of the poetic style of the late stage of Yuan Jia.
The early stage of Yuan Jia, represented by Xie Lingyun, Yan Yanzhi, has a couple of poetic styles coexisted: the elegant style and the style of mountains and waters. Xie Lingyun represents the style of mountains and waters and Yan Yanzhi represents the elegant style. The two however has quite a number of points in common in terms of artistic pursuits: the pursuit of depicting the similarities of different objects, poetic creativities, the decentralization and fragmentation of poetic images, .in general, the poems in the early stage of Yuan Jia mainly aim to restore the poetic traditions of Xi Jin dynasty and as supplementary, reflect other poetic styles as well. So these poems are more likely to inherit the past.
In the late stage of Yuan Jia, many new poetic changes occurred while the previous style was followed. Tha eminent poets then are Pao Zhao and Yan Yanzni. Yan Yanzhi, due to mishaps in his late life, created some poems different from his early life in style. Pao Zhao, born in a poor family, writes more about the complicated psychological world of the poor scholars climbing up the social ladders. In the late stage of Yuan Jia, the decadent poetic spirit of the early times has been reversed and many new tendencies appear in artistic pursuit. These tendencies, having been developed in Da Ming and Tai Shi, eventually evolved into Yong Ming poetic style. Those new artistic pursuits include: poetic length getting shorter and terser, poetic language getting natural (compared with the stiff and strange language), poetic images getting united and completed, poetic syllables getting fluent and smooth. There is however a common feature between the early and late stages, i.e. the emphasizing in poetic representation of the actual objects. With the analyses of those changes, the paper elaborates the deep reasons of the transitions of Yuan Jia poetic style from the perspective of a poet's life being influenced by social changes.
元嘉前期分别以谢灵运、颜延之为代表，呈现出若干诗风并存的局面：典雅一派，山水一派。山水诗作，以谢灵运为代表，典雅诗作以颜延之为代表，二者在艺术追求上却有许多不谋而合之处：追求摹写外物形似，词语的生新，诗歌意象的分散支离——总之在整体上讲，元嘉前期诗歌是以恢复西晋诗歌传统为主，其他诗风为辅，它更多属于承前一面。
元嘉后期，在继承前期的基础上有了许多新变，诗坛以鲍照、颜延之为代表。颜延之由于人生遭际不偶，创作出了不同于前期的诗作，而鲍则由于出身孤寒，从不同侧面反映出那个时代由贫寒之士向上爬升的过程中所显示的复杂的精神世界。元嘉后期不仅在诗歌精神上变革了前期的颓势，在艺术追求上也出现了许多新的倾向，而这些倾向则经过大明、泰始的发展，最终演变为永明诗体。这些新的艺术追求包括：篇幅日益短小精悍，语言渐趋自然(与生新对)，意象逐渐统一完善，音节逐渐流畅。但前后期有一相通处即是极为重视诗歌对具体物象摹写的功能。本文在分析这些变化的基础上，又进而试图从社会变迁影响诗人命运(而诗人则直接影响诗歌)这个角度，阐释元嘉诗风演变的深层原因。
Transitions from the dry and abstract metaphysical poetic style in East Jin Dynasty to the smooth and natural Yong Ming poetic style in Nan Qi dynasty; from the "elegant" style in Wei and Jing Dynasties to the "secular" style in Qi and Liang dynasties, took place in Liu and Song dynasties, which can be divided into two phases: Yuan Jia phase and Da Ming, Tai Shi phase. The 30th year of Yuan Jia serves as a link between past and future; and Da Ming, Tai Shi can then be viewed as the continuation and development of the poetic style of the late stage of Yuan Jia.
The early stage of Yuan Jia, represented by Xie Lingyun, Yan Yanzhi, has a couple of poetic styles coexisted: the elegant style and the style of mountains and waters. Xie Lingyun represents the style of mountains and waters and Yan Yanzhi represents the elegant style. The two however has quite a number of points in common in terms of artistic pursuits: the pursuit of depicting the similarities of different objects, poetic creativities, the decentralization and fragmentation of poetic images, .in general, the poems in the early stage of Yuan Jia mainly aim to restore the poetic traditions of Xi Jin dynasty and as supplementary, reflect other poetic styles as well. So these poems are more likely to inherit the past.
In the late stage of Yuan Jia, many new poetic changes occurred while the previous style was followed. Tha eminent poets then are Pao Zhao and Yan Yanzni. Yan Yanzhi, due to mishaps in his late life, created some poems different from his early life in style. Pao Zhao, born in a poor family, writes more about the complicated psychological world of the poor scholars climbing up the social ladders. In the late stage of Yuan Jia, the decadent poetic spirit of the early times has been reversed and many new tendencies appear in artistic pursuit. These tendencies, having been developed in Da Ming and Tai Shi, eventually evolved into Yong Ming poetic style. Those new artistic pursuits include: poetic length getting shorter and terser, poetic language getting natural (compared with the stiff and strange language), poetic images getting united and completed, poetic syllables getting fluent and smooth. There is however a common feature between the early and late stages, i.e. the emphasizing in poetic representation of the actual objects. With the analyses of those changes, the paper elaborates the deep reasons of the transitions of Yuan Jia poetic style from the perspective of a poet's life being influenced by social changes.
引文
[1] 房玄龄《晋书》[M]，中华书局，1974
[2] 李延寿《南史》[M]，中华书局，1975
[3] 沈约《宋书》[M]，中华书局，1974
[4] 萧子显《南齐书》[M]，中华书局，1972
[5] 姚思廉《梁书》[M]，中华书局，1973
[6] 吕思勉 《魏晋南北朝史》上海古籍出版社 1983
[7] 唐长孺 《魏晋南北朝论丛》[M]，河北教育出版社，2000
[8] 赵翼著 王树民校证《二十二史札记校证》[M]，中华书局，1984
[9] 严可均 《全上古三代秦汉三国六朝文》[M]，中华书局，1958
[10] 逯钦立 《先秦汉魏晋南北朝诗》[M]，中华书局，1983
[11] 郭茂倩 《乐府诗集》[M]，中华书局，1979
[12] 萧统 李善注《文选》[M]，上海古籍出版社，1986
[13] 沈德潜《古诗源》[M]，中华书局，1963
[14] 朱光潜《诗论》[M]，上海古籍出版社，2001
[15] 郭绍虞《中国历代文论选》[M]，上海古籍出版社，1979
[16] 李泽厚、刘刚纪《中国美学史》[M]，安徽文艺出版社，1999
[17] 叶郎 《中国美学史大纲》[M]，上海人民出版社，1999
[18] 冯友兰《中国哲学史》[M]，华东师范大学出版社，1998
[19] 冯友兰《中国哲学简史》[M]，北京大学出版社，1996
[20] 汤用彤《魏晋玄学论稿》[M]，上海古籍出版社，2001
[21] 刘大杰《魏晋思想论》[M]，上海古籍出版社，1998
[22] 萧涤非《汉魏六朝乐府文学史》[M]，人民文学出版社，1984
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[24] 徐公持《魏晋文学史》[M]，人民文学出版社，1999
[25] 曹道衡、沈玉成《南北朝文学史》[M]，人民文学出版社，1991
[26] 葛晓音 《汉唐文学的嬗变》[M]，北京大学出版社，1997
[27] 钱志熙《魏晋诗歌艺术原论》[M]，北京大学出版社，1993
[28] 张仁青《魏晋南北朝文学思想史》[M]，台湾文史哲出版社 1978
[29] 袁行霈《陶渊明研究》[M]，北京大学出版社，1992
[30] 曹道衡《中古文学史论文集》[M]，人民文学出版社，1989
[31] 刘跃进《门阀士族与永明文学》[M]，三联出版社，1996
[32] 罗宗强《隋唐五代文学思想史》[M]，中华书局，1991
[33] 刘跃进《中古文学文献学》[M]，江苏古籍出版社，1997
[34] 殷孟伦 《汉魏六朝百三家集题辞注》[M]，人民文学出版社，1960
[35] 曹道衡、刘跃进《南北朝文学编年史》[M]，人民文学出版社，2000
[36] 范文澜《文心雕龙注》[M]，人民文学出版社，1958
[37] 杨明 《文赋诗品译注》[M]，上海古籍出版社，1999
[38] 陈延杰《诗品注》[M]，人民文学出版社，1961
[39] 胡应麟《诗薮》[M]，人民文学出版社 1979
[40] 郭绍虞 《清诗话续编》 [M]，上海古籍出版社，1983
[41] 张撝之 《世说新语译注》 [M]，上海古籍出版社，1996
[42] 余嘉锡 《世说新语笺疏》[M]，上海古籍出版社，1983
[43] 钱志熙 《唐前生命观和文学生命主题》 [M]，东方出版社，1997
[44] 张松如主编《中国诗歌史》[M]，吉林大学出版社，1989
[45] 李宗长 论颜延之的思想[J]，南京社会科学1996、6
[46] 李宗长 颜延之风格论[J]，江苏社会科学 1992、6
[47] 丁福林 南齐书文学传论 对文坛三派的评价[J]，辽宁大学学报 1996、3
[48] 钱钢 论钟嵘《诗品》对颜延之诗歌的评价[J]，中州学刊1990、5
[49] 李宗长 从鲍照乐府诗看其复杂矛盾的心态[J]，江苏社会科学 1997、5
[50] 骆玉明、贺圣遂 谢灵运之评价与梁代诗风演变[J]，复旦学报 1983、6
[51] 钱志熙 《宋书·谢灵运传论》与永明文学革新[J]，求索 1993、2
[52] 傅至柔 太康文学思想述评[J]，上海师范大学学报 1992、2
[53] 曹道衡 陆机的思想及其诗歌[J]，中国社会科学院研究生院学报 1996、1
[54] 王钟陵 永明体艺术成就概说[J]，文学遗产 1989、1
[2] 李延寿《南史》[M]，中华书局，1975
[3] 沈约《宋书》[M]，中华书局，1974
[4] 萧子显《南齐书》[M]，中华书局，1972
[5] 姚思廉《梁书》[M]，中华书局，1973
[6] 吕思勉 《魏晋南北朝史》上海古籍出版社 1983
[7] 唐长孺 《魏晋南北朝论丛》[M]，河北教育出版社，2000
[8] 赵翼著 王树民校证《二十二史札记校证》[M]，中华书局，1984
[9] 严可均 《全上古三代秦汉三国六朝文》[M]，中华书局，1958
[10] 逯钦立 《先秦汉魏晋南北朝诗》[M]，中华书局，1983
[11] 郭茂倩 《乐府诗集》[M]，中华书局，1979
[12] 萧统 李善注《文选》[M]，上海古籍出版社，1986
[13] 沈德潜《古诗源》[M]，中华书局，1963
[14] 朱光潜《诗论》[M]，上海古籍出版社，2001
[15] 郭绍虞《中国历代文论选》[M]，上海古籍出版社，1979
[16] 李泽厚、刘刚纪《中国美学史》[M]，安徽文艺出版社，1999
[17] 叶郎 《中国美学史大纲》[M]，上海人民出版社，1999
[18] 冯友兰《中国哲学史》[M]，华东师范大学出版社，1998
[19] 冯友兰《中国哲学简史》[M]，北京大学出版社，1996
[20] 汤用彤《魏晋玄学论稿》[M]，上海古籍出版社，2001
[21] 刘大杰《魏晋思想论》[M]，上海古籍出版社，1998
[22] 萧涤非《汉魏六朝乐府文学史》[M]，人民文学出版社，1984
[23] 刘师培《中国中古文学史》[M]，人民文学出版社，1959
[24] 徐公持《魏晋文学史》[M]，人民文学出版社，1999
[25] 曹道衡、沈玉成《南北朝文学史》[M]，人民文学出版社，1991
[26] 葛晓音 《汉唐文学的嬗变》[M]，北京大学出版社，1997
[27] 钱志熙《魏晋诗歌艺术原论》[M]，北京大学出版社，1993
[28] 张仁青《魏晋南北朝文学思想史》[M]，台湾文史哲出版社 1978
[29] 袁行霈《陶渊明研究》[M]，北京大学出版社，1992
[30] 曹道衡《中古文学史论文集》[M]，人民文学出版社，1989
[31] 刘跃进《门阀士族与永明文学》[M]，三联出版社，1996
[32] 罗宗强《隋唐五代文学思想史》[M]，中华书局，1991
[33] 刘跃进《中古文学文献学》[M]，江苏古籍出版社，1997
[34] 殷孟伦 《汉魏六朝百三家集题辞注》[M]，人民文学出版社，1960
[35] 曹道衡、刘跃进《南北朝文学编年史》[M]，人民文学出版社，2000
[36] 范文澜《文心雕龙注》[M]，人民文学出版社，1958
[37] 杨明 《文赋诗品译注》[M]，上海古籍出版社，1999
[38] 陈延杰《诗品注》[M]，人民文学出版社，1961
[39] 胡应麟《诗薮》[M]，人民文学出版社 1979
[40] 郭绍虞 《清诗话续编》 [M]，上海古籍出版社，1983
[41] 张撝之 《世说新语译注》 [M]，上海古籍出版社，1996
[42] 余嘉锡 《世说新语笺疏》[M]，上海古籍出版社，1983
[43] 钱志熙 《唐前生命观和文学生命主题》 [M]，东方出版社，1997
[44] 张松如主编《中国诗歌史》[M]，吉林大学出版社，1989
[45] 李宗长 论颜延之的思想[J]，南京社会科学1996、6
[46] 李宗长 颜延之风格论[J]，江苏社会科学 1992、6
[47] 丁福林 南齐书文学传论 对文坛三派的评价[J]，辽宁大学学报 1996、3
[48] 钱钢 论钟嵘《诗品》对颜延之诗歌的评价[J]，中州学刊1990、5
[49] 李宗长 从鲍照乐府诗看其复杂矛盾的心态[J]，江苏社会科学 1997、5
[50] 骆玉明、贺圣遂 谢灵运之评价与梁代诗风演变[J]，复旦学报 1983、6
[51] 钱志熙 《宋书·谢灵运传论》与永明文学革新[J]，求索 1993、2
[52] 傅至柔 太康文学思想述评[J]，上海师范大学学报 1992、2
[53] 曹道衡 陆机的思想及其诗歌[J]，中国社会科学院研究生院学报 1996、1
[54] 王钟陵 永明体艺术成就概说[J]，文学遗产 1989、1