作　　者： ;

机构地区： 中国社会科学院文学研究所

出　　处： 《北京大学学报（哲学社会科学版）》 2009年第2期27-34,共8页

摘　　要： 本文首先通过追溯"神韵"的语源,肯定前人认为它系由画论移植于诗学是目前根据文献所能得出的假说。又经广泛考查历代文献,发现在元代"神韵"已用于诗文评,其审美内涵则到明代中叶基本已定型,至迟在胡直的诗论中已有较成熟的理论概括。这一结论澄清了学界认为胡应麟始用"神韵"论诗的不确之说。最后,考察王渔洋早年创作和批评中使用"神韵"概念的情况,认为王渔洋最初使用"神韵"概念是不自觉的,经钱谦益品题后,日益意识到"神韵"的理论意义,自觉地加以申说发挥,最终被诗坛广为接受,尊奉为其诗学的核心范畴,产生广泛而深远的影响。 By tracing back to the language source of ＂verve＂, the article firstly consents the predecessor＇s thought that it was explanted from painterly theory, and it was presently the supposing theory from the literature. Secondly, after widely examining the literatures of the past dynasties, ＂verve＂ was found to be used in the poem comment in the Yuan dynasty, and its aesthetic meaning was basically formed in the following middle period of Ming dynasty, and at the latest it had relatively mature theory generalized in the poetics by Hu zhi. This conclusion clarifies the incorrect explanation by the school field of the beginning of this poem comment by Hu yinglin. Finally, we argue that Wang Yuyang unselfconsciously used the concept of ＂verve＂ from the beginning after examining the former works and comments by him, and he realized the theoretic meaning of ＂verve＂ gradually after the remarks by Qian qianyi. He forwardly explained and brought it into play. Finally, he was accepted by the Parnassus and ＂verve＂ was honored and respected as the core category of the poetics with a far-reaching influence.

关 键 词： 王渔洋 神韵 胡直 诗学

领　　域： [文学]