明清之际“同谷七歌”的“心史”效应

The“Xinshi”Effect of“Seven Tonggu Songs”Between the Ming and Qing Dynasties

"秋兴八首"和"同谷七歌"同为杜甫"连章体"组诗,在艺术上均具有较高造诣。明清之际的诗人对此两组诗歌广泛追摹,规模近百人,诗歌近千首。然而,学界一直强调"秋兴八首"所具有的"诗史"范式,鲜有人注意到"同谷七歌"特有的"心史"功能。"同谷七歌"在清初引发广泛追和,并与明末《心史》的发现相呼应,形成追和"同谷七歌"与歌赞《井中心史》同声叠唱的盛大场景。清初诗人追和"同谷七歌",其"心史"效应大略相同,而其诗学思想稍异:如屈大均是"以心为史",吴伟业则是"史外传心",这些思想最终汇集为心史说,对清诗发展格局产生了深远影响。

Both"eight Qiu Xing poems"and"seven Tonggu songs"were created by Du Fu with the type of"Lianzhang"group poetry,and both have a higher attainments in art.Nearly a hundred poets between Ming and Qing dynasties learned the two groups of poems and produced nearly a thousand poems.The academic circles have always emphasized the"shishi(poetic history)"paradigm of"eight Qiu Xing poems",and few people have noticed the unique"xinshi(history of heart)"function of"seven Tonggu songs"."Seven Tonggu songs"triggered widespread reconciliation in the early Qing Dynasty and echoed with the discovery of Xinshi at the end of the Ming Dynasty,forming a grand praise for both"seven Tonggu songs"and Jingzhongxinshi(The Heart-History in the Well).In the early Qing Dynasty,poets also praised and followed the style of"seven Tonggu songs",with almost the same"history of heart"effect,but slightly different poetic thoughts.Qu Dajun’s"Heart as History"and Wu Weiye’s"History of Spreading Heart"were both examples.Their thoughts finally gathered into the theory of xinshi,which had a profound impact on the development pattern of Qing poetry.