范成大诗史地位的后世接受

Acceptance of Posterity to the Position of Fan Chengda in the History of Poetry

古典诗歌史视域下的范成大,其诗歌地位在不同时代受世风及诗风影响,相应地发生显著变化。整体观之,宋元是范成大诗歌地位的确立时期,作为中兴四大家之一,被视为乾淳诗坛巨擘。明代虽以尊唐黜宋为主流,但范成大等南宋诗人所受影响不大。明人多以南宋四大家为讨论对象,从以唐存宋角度评价其诗歌。到了清代,由于诗坛风气多变且诗人个体的诗学宗尚不同,因此范成大此时期的诗史地位变化亦比较复杂。不过从中可抽出陆、范比较这条主线,从而明悉范成大诗史地位的变化及其与清代唐宋诗之争的关系。要之,对范成大诗史地位的接受作历史过程的考察,不仅可以丰富和深化对范成大诗歌价值的认识,亦可从中透视古典诗歌内部发展演变的轨迹,以及诗歌审美趣味的转变。

Under the view of classic poetry history, Fan Chengda’s position in poetry correspondingly changed obviously due to the influence of public morals and poetic styles in different dynasties.On the whole, Song and Yuan dynasties were the periods to determine his position in poetry, and as one of four great poets of Rehabilitation, he was regarded as a master of Qian Chun Parnassus.Although Ming dynasty took respecting Tang style and criticizing Song as the mainstream in poetic field, poets in South Song dynasty like Fan Chengda were seldom affected by the mainstream.In Ming dynasty, scholars usually took four authorities of South Song dynasty as the objects of discussion, and evaluated poems from the angle of learning from Tang and maintaining Song.In Qing dynasty, due to many changes in poetic Parnassus and differences of individual poets in poetic thought, his position in poetic history had changed complicatedly.However, this main line of comparison between Lu and Fan can be drawn from the above, which can help to clarify the changes of Fan’s position in poetic history, and the struggling relationship with poems of Tang and Song dynasties in Qing dynasty.Therefore, conducting historical process inspection for the acceptance of Fan’position in poetic history can not only enrich and deepen the cognition for the value of Fan’poems, but also can examine the track of internal development evolution of classic poetry, and the transformation of poetic aesthetics interests.