自在与求奇——南宋中兴诗人的六言绝句创作及诗史意义

Zizai or Qiuqi:Six-Character Quatrains by Zhongxing Poets of the Southern Song Dynasty and Their Significance in the History of Poetry

六言绝句缺乏单音节音步调剂的声律短板使其向骈俪化与尚古两种方向发展。围绕《题西太一宫壁》的讨论促使两条诗歌脉络交汇,“自在”由此成为六绝诗体标准。南宋中兴诗坛,求奇的六绝作者试图调和多层次关系以因难见巧。范成大大量创作六绝,刻意回避江西体,吸纳乐府传统和四六技法,但“好奇而卒不能奇”。陆游以六绝为咏怀组诗,融合自在之趣与不平之气,实现了由群而我的诗体功能转变。杨万里以活法求奇,重视江山之助,终至浑成健雅的自在之境。赵蕃等人虽大量创作六绝,但因墨守江西而被潮流抛弃;尤袤仅存两首六绝,却因符合自在之旨而获得认可。总之“,自在”因其普适性固化为六绝标准,却也成为一流诗人有意求奇的枷锁。

The lack of monosyllabic meters in six-character quatrains led to the development of both ekphrasis and vintage style. The discussion around Poems on the Wall of the Western Taichi Palace led to the intersection of the two poetic veins,and“zizai”,which means being at ease,thus became the standard for the six-character quatrains. Zhongxing poets of the Southern Song Dynasty sought to reconcile multiple levels of relationship to pursue the handiness to conceive outline in the difficulty.Fan Chengda composed a large number of six-character quatrains,deliberately avoiding the Jiangxi style and absorbing the musical tradition and the ekphrasis techniques,but he was too curious to be curious. Lu You used the six-character quatrains as a group of chanting poems,blending the fun of freedom with the spirit of injustice,achieving a change in the function of the poetic style from the group to ego. Yang Wanli sought wonder by living,valuing the help of natural environment,and finally reached the state of“zizai”elegance. Although Zhao Fan and others composed a large number of six-character quatrains,they were abandoned by the trend because of their adherence to Jiangxi style. Only two six-character quatrains by You Mao survived,but they were recognized for being in line with the purpose of“zizai”. In short,“zizai”is the standard for the six-character quatrains because of its universality,but it has also become a shackle for the first-class poets to“qiuqi”(seek the odd).