论唐代诗人的乐府观

On the Tang Dynasty Poet Yuefu View

唐代诗人中的卢照邻、韩愈、元稹、皮日休四人,不仅都曾创作了数量不等的乐府诗,而且各自所持之乐府观,于唐代乐府诗论体系的建构,也均具有不可低估的作用。主张以"古体写新题",是卢照邻乐府观之核心所在。韩愈的乐府观,主要表现在继承与发展了卢照邻的以"古体写新题"、认可白居易的新乐府理论并进行艺术实践、在"琴曲类"乐府创作中注重"二古一新"的关系三个方面。作为新乐府诗派代表人物的元稹,从理论的角度对"乐府古题"所进行的专论,是其乐府观另一个方面的具体反映。皮日休"正乐府"理论的"乐府之道"与尚古倾向的并存,导致了其"既古亦今"乐府观的形成。

The poets in Tang Dynasty such as Lu zhaolin, Han yu, Yuan zhen, Pi rixiu, not only created many Yuefu poems, but also held their own views of Yuefu. These are not underestimated in the Tang Dynasty Yuefu poetry Quantity Theory of Construetivism. Advocating to the ＂new title in archaic genre＂ is the core of Lu Zhaolin＇s Yuefu view. the main performance in Han Yu＇s Yuefu concept is the inheritance and development of Lu Zhaolin＇s ＂ new title in archaic genre ＂ and recognized Bai＇s new Yuefu theory and artistic practice. In ＂Music of class＂ Yuefu creation focus ＂two ancients and one new＂ relationship in three aspects. As a new conservatory school of poetry representative Yuan zhen, wrote a monograph of Yuefu ancient title from a theoretical point, which specifically reflected another aspect of Yuefu concept. Pi Rixiu＇s ＂ Zheng Ruefu＂ theory coexisted with the ancient tendency ＂Yuefu Road ＂, leading to its ＂ ancient and modern ＂ Yuefu concept formation.