王世贞格调伦新变.pdf

摘要格调论由李东阳提出,由李梦阳、何景明为领袖的前七子发扬光大,发展到王世贞所处的时代,格调理论陷入了困境。一方面,李何之争后,格调派锐气已减,李攀龙为首的后七子虽重倡格调,但格调派模拟太甚的流弊愈演愈烈,广为诟病。另一方面,嘉靖以来各诗文流派纷纷兴起, 各张其说,反复论争,再加上民歌、戏曲等通俗文学的繁荣,阳明心学的流行与影响,唐宋派的冲击,格调理论的变革势在必行。针对格调派面临的困境,王世贞从两个方面入手对格调理论进行变革。一是审美取向。王世贞提出“捃拾宜博”的审美取向,倡导以辩证的态度公平地对待各朝各代的作品,广泛涉猎六朝、中晚唐、宋等“第一义”以外的诗歌;二是师法原则,他反对“尺寸古法”的时熟读涵咏,令其深入心中,从而在创作时能够“默受指挥”。而这两个方面的新变指向了王世贞格调论新变的核心,即在格调论中引入了才思和情实,扩大了格调论的审美范畴。王世贞格调理论新变,体现出一种中和兼容的态度:他不光调和了“才与格”、“意与法”、“变与恒”等各种不同的诗学概念,还以辩证的思维方法,努力消弭七子派内部以及七子派与唐宋派之间的分歧,这对开启新的审美风尚、促进格调理论诗学的多元化、深化发展有着积极的作用, 对王世懋、胡应麟等七子派后学,乃至整个明代中后期诗坛,都有着积极的影响。然而,王世贞的努力并不能挽救格调理论走向衰微的事实,格调派的问题依然存在,甚至王世贞本人的创作都陷入了泥古的窠臼。王世贞中和兼容的新变并不能在根本上调和“格调”和“性情”的矛盾,也正是从王世贞开始,明代复古诗论关注的重点由“格调”折向“神韵”,从而开启了“幽微淡远”的审美风尚。关键词:王世贞;格调理论;新变;审美取向;师法原则; The research on thechange aboutthetheory of theStyle And TheTone ofWang Shizhen XuQuxing(Chinese AncientLiterature) Directedby SunJiwen Professor Abstract Wang Shizhen istheMing Dynasty afterthe seven representatives,following Lee inthemain of arichlife,for inthelateMing Dynasty important writersand critics. Wang Shizhen isan advocate ofthetheory by LiDongyang,Li Mengyang,He Jingming asleaderbefore the seven carryforward,to thedevelopment of thetimesof Wang Shizhen,theory ofstyle was immersed one hand,after thestrugglespiritby LiMengyang andHeJingming,style Panlong LED after seven although weight andstyle,.but thegriddispatching simulation excessive abuse intensified, the otherhand,in thepoetry schools have sincearisen,of thesaidZhang Qi,repeatedcontroversy,coupled withthefoll【songs,opera and otherpopular literature:prospefitgYang-Ming prevalence andimpact, theimpact ofTang-Song school,theory ofstylechange Shizhen based on grid dispatchpredicament,from threeaspects ofthetheory is amethod Shizhen putsforward”gather up toBo”take thelawprinciple,advocated adialecticalattitudetreated fairly in thegen