摘要
《乐府补题》的出现,标志着咏物词的发展已经进入较为完备的阶段。在此基础上,张翥以贯通南北的词学视野,转益多师式的创作姿态,主动回归姜夔的咏物传统,从而成为元代咏物词创作的集大成者。
It indicated the lyrics intoned objects developed to a favorable period, along with Yue FU Bu Ti published. On this condition, Zhang Zhu extracted the soul of lyrics intoned objects and became a master of poetry in the late Yuan Dynasty.
出处
《楚雄师范学院学报》
2008年第2期57-61,共5页
Journal of Chuxiong Normal University
关键词
张翥
咏物词
审美情志
创作姿态
审美理想
Zhang Zhu
lyrics intoned objects
aesthetic emotion
aesthetic ideality
