袁枚“梅村体”诗歌的仿体与新变

Limitation and Innovations of Yuan Mei’s“Meicun Style”Poetry

袁枚对“梅村体”诗歌的学习是基于清代语境,将吴伟业“梅村体”看作元、白“长庆体”诗歌变体而进行的学习,因而其“梅村体”诗歌对元稹白居易以及吴伟业均有效仿。袁枚的一部分七言叙事歌行关注当世情事与社会变迁,因其用典繁复和语言绮丽而近似于狭义的吴伟业的“梅村体”创作。另一部分作品主要着眼于宫廷事变,以流畅的叙事语言描绘出历史的“在场性”场景,与元、白“长庆体”更为接近并且拓宽了一般咏史诗的写作套路。袁枚的“梅村体”诗歌还以小说入诗,并且表达自己对歌伎伶人的赞许与关怀,渗透着诗人的风流情思与狭邪时风,呈现出与前辈诗歌不同的独特风貌。

Yuan Mei’s study of“Meicun style”poetry is based on the context of the Qing Dynasty and regards Wu Weiye’s“Meicun style”as a variant of Yuan and Bai’s“Changqing style”poetry.Therefore,his“Meicun style”poetry effectively imitates Yuan Zhen,Bai Juyi and Wu Weiye.Some of Yuan Mei’s seven character narrative songs focus on current events and social changes.Because of its complex allusions and beautiful language,they are similar to Wu Weiye’s“Meicun style”creation in a narrow sense.The other part of the works mainly focus on the Court Affairs,depicting the historical“presence”scene with smooth narrative language,which is closer to the“Changqing style”of Yuan and Bai,and widens the writing routine of general chanting epics.Yuan Mei’s“Meicun style”poetry is also incorporated into poetry with novels,and expresses his praise and care for the actors.It permeates the poet’s romantic thoughts and evil current trends,showing a unique style different from the previous poetry.