【作者】 于波；

【导师】 郭院林；

【作者基本信息】 扬州大学 ， 古代文学， 2021， 硕士

【摘要】 李商隐以文与诗见长。赵宋之前,文坛对他的接受与认识以骈文成就与政治经历为主,一方观点以其文采斐然,仕途坎坷波折,发“才命相妨”之论;另一方则集矢于未遵守儒家美学规范,纵使骈文典雅瑰丽,然而缺乏现实意义,联系其在牛李党争中摇摆不定的表现,攻击李商隐人品卑劣,“俱无持操,恃才诡激”。此两种观点构成这一时期对李商隐接受的正方面,是后代李商隐接受的先声。与此同时,李商隐诗歌的传播也在悄悄萌芽中。从晚唐至五代,李诗多以单篇流传,未见刊刻。入宋之后,以杨亿为代表的西昆诗人借助编纂《文苑英华》的契机,集李诗凡五百八十二首,为宋代李诗的传播打下了坚实的文献基础。宋代,部分文人尝试对李商隐诗歌进行阐释与接受。其中,咏物诗和咏史诗受到了最多的关注。对于前者咏物诗,诗坛的接受多落脚于技法的提取,对后者咏史诗,诗坛的评论更为多元,既有赞美其艺术成就,又有归纳其独特的用典手法,涵泳蕴含在典故之下的丰富情致。此外,还有人尝试阐释李商隐诗歌中的具体篇目。对《锦瑟》主旨的解读,咏物说在宋代占据了主导地位,明清二代流行的悼亡说正是在此基础上发展而来;对《乐游原》的接受落脚于“夕阳无限好,只是近黄昏”两句,以为此二句佳。除了对诗歌文本的阐释与接受,宋代还有作者将目光放在李商隐诗歌的技法上,挖掘李诗独特而高超的技法。宋人对李商隐诗歌技法的分析主要集中在三方面:善于雕琢,习惯用典和长于烘托渲染。李商隐对诗句的雕琢与打磨得到了诗坛的公认,但态度却分成了几派:一派赞赏李商隐诗法上的匠心,如朱弁等;另一派则反对李商隐过于华丽的诗风,如张戒;还有人指出李商隐在诗歌上的雕琢值得推广,然而斧凿痕迹过重,有碍艺术价值。诗坛还注意到了李商隐善于用典,关于典故的使用,诗坛同样褒贬不一,有人认为李商隐是在堆砌典故,严重制约了文意的表达;有人认为李商隐不是机械地照搬典故,而是对典故进行了个性化的加工。最后,诗坛还注意到了李商隐对于诗歌氛围的烘托,他们认为李商隐没有直接托出诗歌主题,而是通过反复渲染、烘托,最后给出主题。宋人对李商隐诗歌的接受与认识并没有停留在理论上,他们也在创作中实践对李商隐诗歌的认识。一些诗人追和李商隐的诗作,另一些诗人借用义山诗题进行创作。另一些词人在创作词时化用李商隐的灵感或是手法,从而使得其诗歌的血脉流淌在了宋词之中。总的来说,李商隐在宋朝诗坛的地位不是一成不变的。宋初,诗歌典范的宝座属于白居易,后因李商隐华美、好用典的诗风符合杨亿等人的审美喜好,西昆诗人将其推至诗歌典范的位置。后在天圣年间,欧阳修主导诗文改革,试图复兴儒家传统,尽管其认可李商隐诗歌的艺术价值,但思想主题上的分歧让欧阳修选择了杜甫作为新的诗坛典范,李商隐的地位有所滑落。然后,由于李商隐在创作时有意效法杜甫,其很快便作为自觉学杜的典范被众人接受,诗坛地位趋于稳定。更多还原

【Abstract】 Li Shangyin is good at writing poems.Before Song,the acceptance and recognition of him in the literary circle were mainly based on the achievements of parallel prose and political experience.On the one hand,the view was that he was brilliant in writing and had ups and downs in his official career.The other side focused on the failure to observe the Confucian aesthetic norms,and the lack of practical significance of parallel prose,even though it was elegant and beautiful.In connection with its wavering performance in the party dispute between the Niu and Li,it attacked the Shang for being despotic in character,"having no integrity and swindling talents".These two viewpoints constitute the positive aspect of Li Shangyin’s acceptance in this period,and are the forerunners of Li Shangyin’s acceptance in later generations.At the same time,the spread of Li Shangyin’s poetry is also in the bud.From the late Tang Dynasty to the Five Dynasties,most of Li’s poems were circulated in a single piece and never published.After entering the Song Dynasty,Xikun poets,represented by Yang Yi,collected 582 poems of Li’s poems by taking advantage of the opportunity of compiling the"Literary Garden Yinghua",which laid a solid document foundation for the dissemination of Li’s poems in the Song Dynasty.In Song Dynasty,some scholars tried to interpret and accept Li Shangyin’s poems.Among them,chanting poems and chanting epics have received the most attention.As for the former,the acceptance of the poem is mostly based on the extraction of techniques,while the comment on the latter’s poem is more diversified,which not only praises its artistic achievements,but also summarizes its unique Canon techniques,and embodies the rich feelings contained in the allusions.In addition,there are attempts to interpret the specific articles in Li Shangyin’s poems.On the interpretation of the theme of Jin Se,the theory of chanting material took the leading position in the Song Dynasty,and the theory of mourning for the death which was popular in the second generation of Ming and Qing Dynasties developed on this basis.The acceptance of Le You Yuan is based on the two sentences:"The setting sun is infinitely good,but it is nearly dusk",so the two sentences are better.In addition to the interpretation and acceptance of the text of poetry,there are also writers in the Song Dynasty focused on the techniques of Li Shangyin’s poetry and explored the unique and superb techniques of Li’s poetry.The analysis of Li Shangyin’s poetic techniques mainly focuses on three aspects:being good at carving,being used to allusion and being good at setting off and rendering.Li Shangyin’s carve and polish of the poem has been recognized by the poetry circle,but his attitude is divided into several schools:one school appreciates the craftsmanship of Shang Yin’s poetic method,such as Zhu Bian,etc.;The other group,such as Zhang Jie,objected to Li Shangyin’s too ornate style of poetry.Others point out that Li Shangyin’s carving in poetry is worth popularizing,but it is too heavy to hinder the artistic value.The poetry circle also noticed that Li Shangyin was good at using allusions.The poetry circle also praised and criticized the use of allusions.Some people thought that Li Shangyin was piling up allusions,which seriously restricted the expression of the meaning of the text.Some people think that Li Shangyin did not mechanically copy allusions,but made personalized processing of allusions.Finally,the poetry circle also noticed Li Shangyin’s foil to the poetic atmosphere,they believe that Li Shangyin did not directly reveal the theme of the poem,but through repeated rendering,foil,finally give the theme.The acceptance and understanding of Li Shangyin’s poems did not stay in theory,they also practiced their understanding of Li Shangyin’s poems in their creation.Some poets follow the poems of Li Shangyin,while others use the title of his poems to create.Some Ci writers use the inspiration or technique of Shang Yin in the creation of Ci,which makes the blood of Shang Yin poetry flow in Song Ci.Generally speaking,Li Shangyin’s position in the poetry circle of the Song Dynasty was not invariable.In the early Song Dynasty,Bai Juyi was the model of poetry.Later,Xikun poets promoted Li Shangyin to the position of model of poetry because his beautiful and canonical style of poetry was in line with the aesthetic preferences of Yang Yi and others.Later,during the reign of Emperor Tiansheng,Ouyang Xiu led the reform of poetry and prose in an attempt to revive the Confucian tradition.Although he recognized the artistic value of Li Shangyin’s poems,the differences in the theme of his thoughts led Ouyang Xiu to choose Du Fu as the new model of poetry,and Li Shangyin’s position declined somewhat.Then,because Li Shangyin intentionally imitated Du Fu in his creation,he was soon accepted by the public as a model of consciously imitating Du,and his position in the poetry circle became stable.更多还原