北地三才诗歌创作及其对北朝文人诗发展的影响
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摘要
论文主体共分为四部分,第一章是南北朝文化、文学创作差异概述,本章主要以北朝为主要视角,通过南北文化对比简要叙述了这一段时期的文学创作与发展状态,并对形成这种情况的原因做初步的探析。
第二章介绍了北地三才之前的北朝诗歌情况。北地三才之前的北朝诗坛不仅落后于同时期的南朝,甚至落后于分裂前的水平。尤其是前秦灭亡到魏孝文帝改革前,是北朝文学发展史上最黑暗的时期。
第三章主要是北地三才诗歌研究,包括北地三才的生平概述、诗歌文本分析、诗歌风格探析。最后对三人的诗歌进行比较研究。温子异存诗十一首,邢邵存诗八首(另有残诗一联),魏收存诗十四首(另有二联残诗)。温子异诗歌风格相对“邢魏”而言更传统古朴,南朝文学及诗学对邢邵和魏收的影响更为彻底,两人的作品无论从内容、风格还是格律技巧等方面看,都更接近南朝文学,邢邵诗风近沈约,魏收诗风近任昉。“三才”的诗歌创作可以说是南朝诗歌文化被北朝文人吸收过程的一个缩影。
第四章是继北地三才之后的北朝诗歌的创作及发展状况的研究,包括北地三才之后同时稍后的北朝诗歌发展趋势及从北齐入隋的诗人们的创作情况。北地三才之后的北朝诗坛规模俨然,围绕着邢邵、魏收,在邺下形成了文人集团。邢邵、魏收成为北齐文坛领袖,影响了一大批后来叱诧隋初诗坛的青年才俊。正是在北地三才在模仿南方诗歌创作方面的成功,带动了北朝诗歌的迅速发展,南北诗歌的差异越来越小,随着隋朝在疆域上统一中国,南北诗歌的界线也最终瓦解,达到融合。
The thesis is divided into three parts, in which the first chapter is an overview of the differences of Northern and Southern culture and creative writing. Taking the northern dynasties as the main perspective, this chapter outlines the state of literary creation and development of this period by comparing the northern and southern cultures, to give a preliminary analysis to the reasons for such formation.
The second chapter is about the poetry of northern literati before the three northern talents. northern literati in this stage, is not only fall behind south Dynasty which at the same stage, but also fall behind the time when the Jin Dynasty wasn't divided. Especially the time since Qianqian Dynasty died out, until the emperor of Wei Dynasty called Xiaowen who took a involution., the stage was the darkest stage in north Dynasty.
Chapter three is a whole research on "Three Northern Talents" and their poetry creation, including their life experiences, poetry-text analysis and poetry style exploration. Among the "three talents", Zisheng's literary activities are mainly around the time of late the Northern Wei Dynasty and early the Eastern Wei Dynasty with 11 poems preserved, while Xingshao with 8 poems and another incomplete one, weishou with 14 poems and two incomplete ones preserved. Compared with the poetry style of "XingWei", Wen Zisheng's is more traditional and simpler. In his works, more tradition of poetry of the Han Dynasty and wei Dynasty, and potery in the Southern Dynasty had a more profound effect on Xingshao and weishou, whose works are more similar to the Southern Dynasty literature in content, style and rhythm, ect, with Xingshao close to shenyue, Weishou close to Renfang. Poetry creation pg the "Three Talents" is a epitome of the Southern Dynasty's poetry culture absorbed by man of letters of the Northern Dynasty.
Chapter four goes on study on poetry creation and development behind "Three Northern Talents", Including the trend on the poem development of the stage behind Three Northern Talents and the stage later ji to sui dynasty. Developments of poems literati in the stage behind the three northern talents were on a large scale. Around "XinWei", there were to formed some terms of literature men in Yexia. Xinshao and Weishou became the two leaders of literary world in the Northern Qi, influence a lot of youny talents who cut a striking figure in the poems world of the earlier years of Sui Dynasty. Just because the successes of imitation of south Dynasty by the three talents, then encouraging the development of northern poems, so that differences became obscure and few. With the reunification of china in Sui Dynasty, the border of poetry between the Northern and Southern Dynasty collapsed and mixed together.
第二章介绍了北地三才之前的北朝诗歌情况。北地三才之前的北朝诗坛不仅落后于同时期的南朝,甚至落后于分裂前的水平。尤其是前秦灭亡到魏孝文帝改革前,是北朝文学发展史上最黑暗的时期。
第三章主要是北地三才诗歌研究,包括北地三才的生平概述、诗歌文本分析、诗歌风格探析。最后对三人的诗歌进行比较研究。温子异存诗十一首,邢邵存诗八首(另有残诗一联),魏收存诗十四首(另有二联残诗)。温子异诗歌风格相对“邢魏”而言更传统古朴,南朝文学及诗学对邢邵和魏收的影响更为彻底,两人的作品无论从内容、风格还是格律技巧等方面看,都更接近南朝文学,邢邵诗风近沈约,魏收诗风近任昉。“三才”的诗歌创作可以说是南朝诗歌文化被北朝文人吸收过程的一个缩影。
第四章是继北地三才之后的北朝诗歌的创作及发展状况的研究,包括北地三才之后同时稍后的北朝诗歌发展趋势及从北齐入隋的诗人们的创作情况。北地三才之后的北朝诗坛规模俨然,围绕着邢邵、魏收,在邺下形成了文人集团。邢邵、魏收成为北齐文坛领袖,影响了一大批后来叱诧隋初诗坛的青年才俊。正是在北地三才在模仿南方诗歌创作方面的成功,带动了北朝诗歌的迅速发展,南北诗歌的差异越来越小,随着隋朝在疆域上统一中国,南北诗歌的界线也最终瓦解,达到融合。
The thesis is divided into three parts, in which the first chapter is an overview of the differences of Northern and Southern culture and creative writing. Taking the northern dynasties as the main perspective, this chapter outlines the state of literary creation and development of this period by comparing the northern and southern cultures, to give a preliminary analysis to the reasons for such formation.
The second chapter is about the poetry of northern literati before the three northern talents. northern literati in this stage, is not only fall behind south Dynasty which at the same stage, but also fall behind the time when the Jin Dynasty wasn't divided. Especially the time since Qianqian Dynasty died out, until the emperor of Wei Dynasty called Xiaowen who took a involution., the stage was the darkest stage in north Dynasty.
Chapter three is a whole research on "Three Northern Talents" and their poetry creation, including their life experiences, poetry-text analysis and poetry style exploration. Among the "three talents", Zisheng's literary activities are mainly around the time of late the Northern Wei Dynasty and early the Eastern Wei Dynasty with 11 poems preserved, while Xingshao with 8 poems and another incomplete one, weishou with 14 poems and two incomplete ones preserved. Compared with the poetry style of "XingWei", Wen Zisheng's is more traditional and simpler. In his works, more tradition of poetry of the Han Dynasty and wei Dynasty, and potery in the Southern Dynasty had a more profound effect on Xingshao and weishou, whose works are more similar to the Southern Dynasty literature in content, style and rhythm, ect, with Xingshao close to shenyue, Weishou close to Renfang. Poetry creation pg the "Three Talents" is a epitome of the Southern Dynasty's poetry culture absorbed by man of letters of the Northern Dynasty.
Chapter four goes on study on poetry creation and development behind "Three Northern Talents", Including the trend on the poem development of the stage behind Three Northern Talents and the stage later ji to sui dynasty. Developments of poems literati in the stage behind the three northern talents were on a large scale. Around "XinWei", there were to formed some terms of literature men in Yexia. Xinshao and Weishou became the two leaders of literary world in the Northern Qi, influence a lot of youny talents who cut a striking figure in the poems world of the earlier years of Sui Dynasty. Just because the successes of imitation of south Dynasty by the three talents, then encouraging the development of northern poems, so that differences became obscure and few. With the reunification of china in Sui Dynasty, the border of poetry between the Northern and Southern Dynasty collapsed and mixed together.
引文
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①钱志熙.《魏晋南北朝诗歌史述》.北京.北京大学出版社,2005,第196页,
①崔志伟.《温子昇诗文研究》,南宁：广西师范大学硕士研究生毕业论文,2008年4月；28页
①康金声.《温子异集笺校全译》.西安：山西古籍出版社,2000,第136页
①康金声.《温子异集笺校全译》.西安：山西古籍出版社,2000,第155页
②康金声.《温子异集笺校全译》.西安：山西古籍出版社,2000,第151页,
①唐长孺.《魏晋南北朝隋唐史三论》.武汉：武汉大学出版社,1993,217-218页
①逯钦立.《先秦汉魏晋南北朝诗(卷一·邢邵)》.北京：中华书局,1998,第二二六五页。
①康金声、宋冰.《论温子昇与北朝文风的转变》.北京：新闻出版交流.20020102,第46页：
①康金声、宋冰。《论温子昇与北朝文风的转变》.北京：新闻出版交流,20020102,第46页
②曹道衡、沈玉成.《南北朝文学史》.北京：人民文学出版,1992,第530页,
①明[张溥].《汉魏六朝百三家集题辞注·温侍诗集》.北京：中华书局,2007,第355页
②周建江.《北朝文学史》.北京：中国社会科学出版社,1997．第113页.
③周建江《北朝文学史》.北京：中国社会科学出版社,1997.第117页,
①陈伯海、蒋哲伦.《中国诗学史》.上海：鹭江出版社.2002,第278页
①参见周建江《北朝文学史》,中国社会科学出版社,1997年7月,第122页。
①曹道衡.《论北齐诗歌的历史地位》,北京：社会科学战线,中国古代文学,1992年第3期,第274页。
①曹道衡.《论北齐诗歌的历史地位》．北京：社会科学战线,中国古代文学,1992年第3期,第277页。
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[2][南朝梁]刘勰著,李明高编著.文心雕龙译读.济南：齐鲁书社,1962.
[3][南梁]钟嵘著,周振甫译.北京：中华书局,2004.页码1-100。
[4][北齐]魏收.魏书.北京：中华书局,1974.
[5][唐]李百药．北齐书.北京：中华书局,1972.
[6][唐]魏徵.隋书.北京：中华书局,1973.
[7][宋]李昉.文苑英华．北京：中华书局,1966.
[8][宋]郭茂倩.乐府诗集．北京：中华书局,1979.
[9][明]张溥题辞,殷孟伦注.汉魏六朝百三家集题辞注．北京：人民文学出版社,1960.
[10][清]沈德潜.古诗源.北京：中华书局,1963.
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