首页> 中文期刊> 《武汉船舶职业技术学院学报》 >诗歌的“正”、“变”之道与诗人的“非本色”创作——以“诚斋体”为中心

诗歌的“正”、“变”之道与诗人的“非本色”创作——以“诚斋体”为中心

         

摘要

Since Song Dynasty,poetry has been clarified into regular and varied forms,and people have different critics on regular and varied forms during different times.The development of poetry is a changing process with the times,"varied form" can be divided into "vary directly" and "vary greatly".The former type emphasizes on the tradition and rules of the expression,while the latter pursuits the free expression of the "theme",which is seen as the "non-nature creation" of the poet,with Hanyu,Sushi,and Yangwanli as typical examples."Vary greatly" has great significance on the development of poetry,while it is not easily accepted and understood by people at that time or later,which is why genius poet is destined to face difficulties with poem transcending the times.%摘要南北宋之际始以"正变"论诗,不同时代、不同批评者对诗歌的正体、变调认识不同,反映人们的诗歌观念随时而变。诗歌发展本是"因时递变"的过程,"变"又分为"正变"和"大变"。"正变"重视表达方式的合乎传统和规律,"大变"者则可能以牺牲形式为代价而追求"意"的自由表达,这种创作往往被视为"非本色",尤以韩愈、苏轼和杨万里为典型。"大变"对诗歌发展进程具有极为深远的意义,却往往不能为当时或后世接受和理解。这也是天才诗人超越时代的写作注定要面临的困境。

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