王世贞的文章论与乐府说

发布时间：2018-04-02 10:16

本文选题：王世贞　切入点：文章　出处：《华东师范大学》2017年硕士论文

【摘要】：在中晚明的文学史上,王世贞是由复古向性灵嬗变的标志性人物,他的文学思想兼容并蓄,绝非后七子这一团体所能牢笼。《艺苑卮言》及其附录一作为他文学理论的代表性著作,推动了诗、词、曲批评的学理化。但是,长期以来,摘自《艺苑卮言》附录一的《曲藻》遭到了严重的误读,或以为该书的局限在于"以诗论曲",或以为其中提到的"北曲不谐南耳而后有南曲"只是主观臆测,出于对古人礼乐文化语境的生疏,这些判断失之鲁莽,缺乏了解之同情,没能意识到王世贞将南北曲视作"今乐府"的积极意义。有鉴于此,本文试图澄清"文章"、"乐府"的概念,从辞与乐的关系切入王世贞的文学史观,进而发抉他"诗乐合一"的文统论所寄寓的礼乐文化内涵。全文共分三章:第一章,聚焦王世贞的生平,在政治颓败的历史大背景的衬托下,呈现出他精神演变的轨迹与文学思想的分期。概言之,其文学生涯经历了发蒙求学期、锐意复古期、幽沉求变期、倦游乖放期、恬淡自得期五个阶段,随着师道精神的渐次消解,他的持论愈发通脱。第二章,考察王世贞以"文章"概念为核心的批评话语。通过对文章概念缘起、文章正变观、文章修辞观的剖析,探究他推尊《琵琶记》曲辞的用意,正在于宣扬兼顾风情与风教的治世之音。第三章,研讨王世贞基于南北嬗变的"乐府"观。在诗、词、曲皆乐府之一体的前提下,从声韵、音调、乐歌三个层次展开"中原音"与"吴音"的争胜,而王世贞的态度恰恰透露了他的吴中自觉意识。立足于"文章"与"乐府",王世贞建构出来的"诗乐合一"的文学发展脉络,以南音、吴音为华夏正声。从涂山女之歌、二南,到清商乐、吴声歌曲,再到吴中棹歌,这一历史叙述彰显了他会通南北的理论诉求。
[Abstract]:In the history of literature in the middle and late Ming Dynasty, Wang Shizhen was the iconic figure who changed from the ancient times to the spiritual spirit. There is no way that the latter seven sons can be imprisoned. Yi Yuan Zhiyan and his appendix I, as a representative work of his literary theory, have promoted the science and chemistry of poetry, ci, and criticism. However, for a long time, "qu Zao", taken from Appendix 1 of "Yi Yuan Zhiyan Yan", has been seriously misread, or he thinks that the limitation of the book lies in "on the basis of poetic criticism" or that the reference to "the north song is out of tune with the south ear and then there is a southern song" is only subjective speculation. As a result of the rudimentary cultural context of the ancients' etiquette and music, these judgments are reckless and lack understanding of sympathy, and they fail to realize the positive significance of Wang Shizhen's view of the north-south song as "today's Yuefu". This paper attempts to clarify the concept of "article" and "Yuefu", from the relationship between music and speech into Wang Shizhen's view of literary history, and then to develop the cultural connotation of etiquette and music embodied in Wang Shizhen's theory of "integration of poetry and music". The whole paper is divided into three chapters: chapter one, Focusing on Wang Shizhen's life, against the backdrop of a history of political decay, he presents the track of his spiritual evolution and the stages of literary thought. With the gradual dissolving of the spirit of the teacher's Tao, his theory becomes more and more open. Chapter two examines Wang Shizhen's critical discourse with the concept of "article" as the core. Through the origin of the concept of the article, The article is changing view, the analysis of article rhetoric view, probe into his intention of pushing the song of "Pipa Book", is to promote the sound of governing the world with both amorous feelings and wind education. Chapter three, discuss Wang Shizhen's view of "Yuefu" based on the transmutation of north and south. Under the premise of "Yuefu" as a whole, "Zhongyuan" and "Wu Yin" are competing from the three levels of rhyme, tone and song. However, Wang Shizhen's attitude precisely revealed his conscious consciousness of Wu Zhong. Based on the literary development of "article" and "Yuefu", Wang Shizhen constructed the literary development of "integrating poetry and music", with Nan Yin and Wu Yin as the Chinese sound. From Tushan's female song, Ernan, To the Qing Dynasty Shang music, Wu song, and then to the song, this historical narrative highlights his understanding of the north and south of the theoretical appeal.
【学位授予单位】：华东师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I206.2

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