模件化的创造力:以高启的咏物律诗为例

Modularization Creativity:Take Gao Qi’s Regulated Verse on Object-Chanting as an Example

文章借用艺术史领域“模件化”研究的基本概念,以高启的咏物律诗为例,尝试将结构主义阐释角度运用于明代诗歌文本的解读。通过观察高启的五言咏物律诗,总结出十二种模件类型,讨论这些模件在律诗中出现的位置,并揭示高启五言咏物律诗的固定写作思路。以此为基准,进一步分析高启的七律组诗《梅花》,探讨其中模件的“增殖”现象与模件的组合运用方式,强调组诗所拥有的储备功能。最后,通过对比组诗与类书在实用性方面的异同,提出一个假说:对于诗人而言,组诗的现实功能等同于一部诗人自制的小型类书,而这个小型类书所储备的模件及模件组合,可以被诗人用来应对其社交创作的需要。

Using the basic concept of“modularization”in the field of art history and taking Gao Qi’s regulated verse on object-chanting as an example,this paper attempts to apply the perspective of structuralist interpretation to the interpretation of poetry texts in the Ming Dynasty.By observing Gao Qi’s five character regulated verse on object-chanting,this paper summarizes twelve types of modules,discusses the position of these modules in the poems,and reveals the fixed writing ideas of Gao Qi’s five character regulated verse on object-chanting.Based on this,this paper further analyzes Gao Qi?s seven rhythm poetry Series plum blossom,discusses the“proliferation”phenomenon of modules and the combination and application of modules,and emphasizes the reserve function of the poetry series.Finally,this paper compares the similarities and differences in practicability between group poems and class books,and puts forward a hypothesis:for poets,the practical function of group poems is equivalent to a small class book made by poets,and the modules and module combinations stored in this small class book can be used by poets to meet the needs of their social creation.