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作为诗文革新的中坚力量,梅尧臣在古体诗创作方面取得了卓越成就,但学界对其近体诗论之甚少,其实,在近体诗尤其是七律创作上可谓上承西昆,下启江西,具有典型的宋代近体诗转型意义。梅尧臣七律倾向于写一个淹蹇不遇文人的穷愁感愤之情,且善于抒写日常生活情事,使七律由宋初的馆阁走向了民间,其风格平淡拗峭、瘦硬生新;在创作技巧上,梅尧臣七律颇受后昆体诗人的影响,注重技法,好奇求新,创变多而沿革少,体现出与欧阳修不同的努力方向,是庆嘉时期七律创作较有特色的诗人之一。他在七律创作上努力与成就直接影响了熙元与元祐诗坛的七律技法与诗风,在北宋七律的发展演变过程中起到重要的过渡作用。
As the backbone of poem and literature reform, Mei Yaochen made remarkable achievements in ancient poetry creation, but the academic circles have very few poems on it. In fact, she can inherit Xiqun in modern Chinese poetry, The Typical Song Dynasty Modern Poem Transformational Significance. Meiyao Chen Qilu tended to write a poignant feeling of indignation over the literati, and was good at describing the daily life events, making the seven laws from the court of early Song Dynasty to the folk. The style was simple and insistent, On the creative technique, Mei Yaochen’s seven laws are influenced by the poets in Kunlun after the Qing dynasty, focusing on techniques, curiosity and innovation, creating more and less evolution, embodying different efforts with Ouyang Xiu, One of the poets. His efforts and accomplishments in the creation of Qilu directly influenced the technique and poetic style of Qilu in the poetic circles of Yuan and Yuan and played an important transitional role in the development and evolution of the Qilu in the Northern Song Dynasty.