摘要
在以李梦阳为首的“前七子”复古论出台之前,明诗的宗尚经历了一个三段论式的过程,并非宋元诗风统治始终,而是先沿宋元余习,再以尊唐为深长的主流,然后又重新引入宋元等诗路以勘正尊唐之陋,至七子兴起的弘治时期,并仍以尊唐为主,尊宋辅之。因此,李梦阳的“复古”运动并非仅仅复兴久已遗落的唐诗传统,而是一种相对全面的开放视野。其精神实质,在于台阁体将诗路长期局限于盛唐一脉之时,而重提“学”的命题,即向古代一切优秀的诗歌成果学习。其核心是复兴古诗的审美本性和风教传统。
The philosophy of LI Meng-yangg restoring ancient thoughts can be summarized as： ＂to write prose, one should take the prose of Qin and Han dynasties as example, to write poem, one should take the poem of prosperous Tang as example＂. Those who were opposite to the thoughts argued that LI overemphasized the idiom and style, while those who were in favor LI＇s thoughts believed that that LI advocated true feelings was to be innovative in terms of restoring ancient thoughts. This paper ： Before the appearance of the viewpoint of the reactionism of the seven scholars headed by LI Meng-yang in the early period of Ming Dynasty, The Ming poems experienced three phases. The style of the Mingpoems was not dominated by the style of the Song and Yuan poems. In the first phase, itfollowed the style of Song and Yuan poems. In thesecond phase, the style of Tang poems was more popular. And in the third phase, the style of Song and Yuan again was in dominate position. And during thetime of Hongzhi, thestyle of Tang was more followed than the style of Song and Yuan. Therefore, LI Meng-yangl; going back to the style of Tang was not a renewal but a relatively more wide and open point of view. In its spiritual essence. LI Meng-yang＇s viewpoint is one about ＂learning＂ ？ learning from the best poems of the past. The core of it is to renew the nature of aesthetics and moralistic tradition.
出处
《信阳师范学院学报（哲学社会科学版）》
2007年第1期102-106,共5页
Journal of Xinyang Normal University(Philosophy and Social Sciences Edition)
基金
甘肃省教育厅社会科学研究基金资助项目
