性灵诗学与雅正思潮的对立——清代状元李振钧诗歌的文学史意义

Xingling poetry VS Yazheng ideological trend

道光年间,尊经复古的雅正思潮开始盛行,性灵派无可避免地走向衰微。道光九年,新科状元李振钧为士女图题诗,招致座师黄爵滋的严厉批评。李振钧没有听从老师的劝告,而是把题士女图诗编入诗集中,同时以诗歌表达他不入时流的决心,最终游离于京城主流诗坛。"气偶不平缘咏史,过犹可恕为多情""最爱多情清净水,不因河曲强回头",李振钧的性情之诗、寄托之作,成为清朝中后期性灵诗派的绝响。

During the period when Emperor Daoguang was in power, Yazheng ideological trend came to prevail while Xingling school was on unavoidable decline. In the ninth year of Emperor Daoguang＇s power, Li Zhenjun, the newly crowned champion, wrote a poem for the painting of palace maids, but received furious criticism from Huang Juezi, the chief examiner. Unfortunately, Li Zhenjun didn＇t accept the teacher＇s advice, hut included the poem in his collection of poems, and showed his resolution to keep away from the trend, which led to his not being accepted by the mainstream poetry circle. Li Zhenjun＇s poems expressing his dispositions and poems expressing his expectations became the examples of excellence for the Xingling school in the middle and late Qing Dynasty.