李梦阳复古诗论中的“格调”范畴

The Category of "Style" in Li Meng-yang's Theory of Returning to Ancient Poetry

李梦阳作为明代中叶的风云人物,其掀起的复古思潮,对后世影响深远。李梦阳在前人理论的基础上,敢于突破,提出取法汉魏盛唐的"格调"论说,有力地冲击了"雍容典雅"的台阁诗风。审视李梦阳"格古"、"调逸"的主张,不难发现,他的诗论不仅强调诗歌的体式,亦重视诗歌的抒情特质。尽管李梦阳部分诗作出现拟古太甚的情况,但是人无完人,拟古失真并不是李梦阳的初衷,而且其后期创新性提出"真诗乃在民间",此主张对复古过甚起到了一定的弥补作用。"格调"说作为李梦阳复古诗学主张的核心,使得文学回归本体,新的诗坛格局在此论说下得到开创。

As a famous figure in the middle of the Ming Dynasty,Li Meng-yang launched the movement of returning to the ancient poetry,which has far-reaching influence on later generations.On the basis of the predecessors’ theory,Li Meng-yang dared to break through rules and put forward the argument of studying the style of Tang Dynasty and Han and Wei Dynasties,which had strongly impacted on the graceful and elegant style of Tai Ge poetry style.Gazing at the opinion of Li Meng-yang’s Ge Gu and DiaoYi,it is easy to see that his poetic theory emphasizes not only the form of poetry but also the lyric characteristics of poetry.Although some of Li Meng-yang’s poems are over restored to the ancients,yet nobody is perfect,the original distortion is not the original intention of Li Meng-yang,and in his later innovation,he put forward the view that true poetry is in the folk,which makes up for the over-restore of returning to the ancients.The style theory,as the core of Li Meng-yang’s theory of restoring ancient poetics,makes literature return to noumenon.The new pattern of poetry is created under this argument.