“台阁体”不能等同“馆阁体”辨析

A Talk on the Inequality between "Tai Ge Ti" and "Guan Ge Ti"

明代从永乐到弘治这一百多年间,文坛上占着主导和主流地位的文学形态是"台阁体"。有关它的诸多问题没有得到当今学者足够的重视和研究,即如它的称谓也存在着偏颇的看法:把"台阁"等同于"馆阁","台阁体"等同于"馆阁体"。事实上,明代的"馆阁"和"台阁"的指称有着明显的等级和地位差别,二者之间不能等同和相互替称;且考察"馆阁体"和"台阁体"在明、清两代用法的演变,可以看出,把以"三杨"为代表的诗文文学形态称之为"台阁体",在这一时期已经形成了习惯性共识。

During the one hundred years from Yong Le to Hong Zhi in the Ming Dynasty,the leading cultural modality in the literary world is ＂Tai Ge Ti＂.However,a lot of aspects of it have not obtained enough attention and research of the scholars today.For instance,its appellation has been mistaken for ＂Guan Ge Ti＂.Actually,there are obvious differences in status between ＂Tai Ge Ti＂ and ＂Guan Ge Ti＂ in the Ming Dynasty.It is false to equal the two or use one to substitute the other.Meanwhile,through reviewing the evolvement of ＂Tai Ge Ti＂ and ＂Guan Ge Ti＂ in Ming and Qing Dynasties,we can see that it has been a conventional common sense to regard ＂Tai Ge Ti＂ as the cultural modality which was represented by the poems of ＂San Yang＂.