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文艺理论研究 ›› 2021, Vol. 41 ›› Issue (5): 107-119.

• 古代文论与古代文学的理论研究 • 上一篇    下一篇

桐城派“诗文一理”论

潘务正   

  1. 安徽师范大学中国诗学研究中心
  • 出版日期:2021-09-25 发布日期:2021-09-26
  • 作者简介:潘务正,文学博士,安徽师范大学中国诗学研究中心教授,主要从事清代诗文研究、桐城派研究等。
  • 基金资助:

    安徽省人文社科重大项目“桐城学派与诗学”[项目编号:SK2014ZD035]的阶段性成果

On the Tongcheng School’s Preposition of “Both Poetry and Prose Following One Principle”

Pan Wuzheng   

  1. Chinese Poetry Research Center of Anhui Normal University
  • Online:2021-09-25 Published:2021-09-26
  • About author:Pan Wuzheng, Ph.D., is a professor at the Chinese Poetry Research Center of Anhui Normal University. His research interests include the poetry and prose in the Qing dynasty and of the Tongcheng School.
  • Supported by:

    the Major Project of the Humanities and Social Sciences Foundation of Anhui Province (SK2014ZD035)

摘要:

明清时期,文学理论由辨体而趋于诗文互渗乃至诗文“一体”。桐城派虽亦重辨体而反对其他文体渗入古文,但由于该派文士诗文并擅,故“诗文一理”的主张成为共识。公安派及袁枚性灵诗学利用儒家诗学理论的漏洞,提倡书写私生活的情趣;桐城派则以古文之“道”革弊,注重诗人道德境界的升华。鉴于宋代以降俚俗化及神韵诗学带来的诗风靡弱之病,桐城派借用“文以气为主”的传统,以逆折、顿挫、横截诸种古文笔法造气以救之,易诗歌平顺之风为雄直之气。面对俗化倾向及格调派粗豪的弊端,桐城派以诗之神韵入古文,于是古文亦倡“神为主”。桐城派打通诗文之间的界限,从而形成“诗文一理”之说。清代不仅“诗文一体”,文学与书画等艺术在精微之处也逐渐趋同,臻于“一体化”。

关键词:

桐城派, 道, 气, 神, 诗文一理

Abstract:

In the Ming and Qing dynasties, literary theories tended to consider poetry and prose as following one principle of composition. The Tongcheng School in the Qing Dynasty emphasized on differentiating genres and opposed the blending of elements of other genres into the ancient-style prose, but this school excelled at both poetry and prose writing, and their proposition of “both poetry and prose following one principle” became a consensus. While the Gong’an School and Yuan Mei’s xingling (spirituality) poetics exploited the Confucian poetics to promote the writing of private life and personal sentiments, the Tongcheng School advocated the virtues of the ancient-style prose to reform poetry and promote individual morality. Aiming at bracing the feebleness of spirit in poetry accumulated since the vernacular language and shenyun (spiritual resonance) poetics in the Song Dynasty, the Tongcheng School borrowed the tradition that “literature is mainly built on qi (air, spirit)” and adopted various classical writing techniques to build up qi and invigorate the writing. The Tongcheng School introduced the spiritual resonance of poetry into the ancient-style prose so that the prose was also invigorated with the spirit and the gap between poetry and prose was bridged with a new concept of “both poetry and prose following one principle.” In the Qing dynasty, not only were poetry and prose integrated, but literature, painting and other art forms also gradually converged in subtle ways.

Key words:

Tongcheng School, Dao, qi (spirit), spiritual resonance, poetry and prose following one principle