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时间: 2022-04-16 18:44:38 7 诗学诗学玄学

编辑点评：包括重点高校多位博士生的研究论文

博雅文集：全11卷是中国古代戏曲名录研究、朱熹文学思想研究、乐府学概论、流行小说《以诗为证》的产生与演变，精品下载站提供免费下载。

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简介

人民文学出版社于1951年3月在北京成立，是国家级专业文学出版机构，现为中国出版集团公司成员。 60多年来，人民文学出版社一直是获得国家图书奖项最多的文学专业出版社，先后荣获“全国优秀出版社”、“全国百强出版单位”等一系列荣誉”。在万千读者中享有盛誉。

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One, the image of time washing away

There are very few people in the history of Chinese literature who are so famous but not recorded in the annals of history like Li Yu, and he has a hazy face even when he occasionally appears in the unofficial history. Fortunately, this self-aware and wise man wrote many moments in his life in his writings, so that future generations can capture these moments and track his life course. Li Yu's name was not engraved in the official history. He was in charge of the Quartet, and he was divided into three parts of the world several times. The officials of the prefectures, counties and counties who left his footprints also begrudge him. Only the county annals in his hometown Lanxi left him. Brief length:

Li Yu's character was exiled from Fan, and he was a native of Li under the city. When he was a child, he used the five senses as a learning messenger and made up for his doctoral disciples. Shao Zhuang is good at poetry and ancient prose, and he is said to be a talented person, and he likes to travel. Moved from Baimen to the West Lake in Hangzhou. Since he was married to the mountains and rivers, he was named "Lake on the Lake". The inscription in the title says: "Cumbersome drives people away, and old business is thrown into the city; the lakes and mountains recruit me, and the whole family is moved into the painting." Seeing it, I am not happy, so I am moved for a while. There are many famous people who have communicated with each other, even women and children know that there is Li Liweng. In his later years, thinking of returning home, he wrote "Fu back to the hometown", there is a cloud: "Cai Lan Ren Pei Xi, look at the introduction." Because of this, there is an ambition to end. The collection of biographical writings is compiled into a series, called "Family Words". He also compiled several volumes of "New Book of Zizhi", the first of which is "Principle of the Prison" and "The End of Xing Xing", which were written by the fishing institute, all of which are sympathetic and benevolent. Shiwen Compiled", the fisherman lived in Hanshang, so He Zuoyu was from the south of the Yangtze River). Writing poetry is very agile, and it can be done in the future. The most author's lyrics and music, its meaning does not matter Gao Zecheng or Wang Shifu. There is "Ten Kinds of Songs" popular in the world. At that time, Li Zhuowu and Chen Zhongchun were the most famous, and Li Weng was the third. The commentators say that "the modern elegance is the second most mellow and the concubine, and the harmony and the common are the most important". In the past, fishermen dug a canal to divert water in the village of Xiali, and surrounded the site. [1]

This text outlines an ideal image of Li Yu: he loves to travel, loves the mountains and rivers; he has the heart of a benevolent person, and has the style of a hermit; he has agile thinking and unique ingenuity; If we read Li Yu's poems and understand his feelings carefully, we will find that this is almost the self-image of Li Yu's dream. However, Li Yu's image is not so clear.

There is a comment from Li Yu's contemporaries that has profoundly affected the description of Li Yu's image in later generations. This comment comes from Yuan Yuling, who wrote in "Naru Shanfang Shuoyou":

Li Yu is sleazy, good at flattering, wandering among the gentry, likes to write lyrics and novels, and is extremely obscene. They often take three or four little prostitutes, and their children are traveling. His behavior was so filthy that the real Shihlin despised him. I encountered it once, then avoided it. [2]

There is a very similar text in Dong Han's "Ultra Township". In the later studies of Li Yu, Yuan Yuling and Dong Han's evaluations left indelible marks. Whether they agree or refute, it can be seen that Li Yu's image struggles under this shadow. However, Huang Wendi's brief "Abstract from the haiku" in "Quhai General Catalogue" seems to define Li Yu's character, and it has a legacy of "Spring and Autumn Brushwork". Another text related to the "qualification" of Li Yu comes from Lu Xun, who said in the article "From Help to Nonsense": "For example, Li Yu's "A Family Story", Yuan Mei's "Suiyuan Poems", not every gangster It can be done. You must have the will to help the leisure, and the talent to help the leisure, this is the real help.” [3] It is such a short paragraph of praise or derogation, if it inadvertently affects the description of Li Yu’s image. Of course, there are also people who like Li Yu. In addition to his contemporaries, Li Yu still has confidants from different generations. In addition to Gu Qu Zhoulang's admiration for his opera achievements, there are also people who appreciate the art of his life. Zhou Zuoren lightly defended Li Yu in the article "Li Weng and Sui Garden"[4], and showed a strong interest in "Xianqing Ouji", thinking that the use of Xian Xi's birthday is exactly "Leisure Qing". The uniqueness of the book. Lin Yutang is also a person who pays attention to the art of life, so he highly praises Li Yu's talents in this area. He believes that Li Yu is versatile. In addition to being a drama writer and musician, he is also a hedonist, fashion designer, beautician and amateur inventor. As for those criticisms against Li Yu, Lin Yutang did not agree. He mentioned Li Yu, Bai Juyi, Su Dongpo, Yuan Hongdao, Li Zhi, Jin Shengtan, etc., and believed that "these people cannot be praised by orthodox critics because they have too many unique opinions and too deep feelings for things; These people are too good to follow the rules, and because they are too moral, they are not 'good' in the eyes of Confucianism." [5]

However, the power of Confucian morality is too powerful, and even though it has been baptized by a new culture, Li Yu has been subjected to heavy moral criticism for a long time. In Sun Kaidi's point of view, Li Yu's quality is insignificant. At the time of the Great Revolution, even if he can't be a showman, he can still be as poor and self-contained as his friend Du Jun. However, Li Yu, in order to eat and enjoy himself, "did alms" in all directions, completely abandoning his true character as a scholar. "Although he did not have a new dynasty, he served countless new nobles, which is as shameless as them"[6].李渔在《闲情偶寄》中表现出的对生活的考究以及对行乐的倡导甚至令人感到生气，因为他并不是穷得不堪了才去“打抽丰”[7]，他不顾行止得来的钱财竟是用来满足声色之好的。在有的研究者看来，李渔的为人不耻不仅在于他和那些江南一带有钱而没有气节的士大夫如吴梅村、周亮工等来往，也不仅因为他四处“打抽丰”，还因为他没有脱离明末纨绮公子们的腐化习气，自称有登徒子之好，蓄养着众多姬妾，过着奢侈的生活。正是这种腐化的生活作风，�凵肆苏馕灰帐醯奶觳牛�他的创作受其落后生活作风的限制，格调不高，难臻至境。 [8]对儒家道德精神追求的背离似乎成为李渔形象的重要一面，但结论又并不这么简单，这“儒家”二字又使李渔的形象在研究者眼中展现了另外一面，这与他煞有介事地总要在作品中标榜“劝惩人心”、“为圣天子粉饰太平”有关。有人指责李渔“襁褓识字”所学的都是儒家那一套忠孝伦理，不理解劳动人民的思想感情，对农民起义抱着错误态度。 [9]甚至有人认为李渔的戏曲理论是儒家反动戏剧理论的一个代表作。 [10]不过，这种将李渔痛贬至极处的观点并不多见。杜书瀛眼中的李渔是一个世界观复杂的封建社会末期的文人：他的思想从根本性质来说是为其时代的统治思想所规范化了的，脑子里装满封建伦理观念，并将其视为天经地义而自觉地加以维护；同时他的世界观中又具有进步的、积极的因素，因为战乱，因为贫困，他接近了下层人民，在一定程度上看到了下层人民的悲惨生活，并给予真切的同情。 [11]这与上述那种认为李渔不理解劳动人民思想感情的观点截然不同。李渔显然不是简单可以被阅定的，他的身上汇集了不少矛盾，所以，黄天骥对李渔的形象作了这样的描述：“他一方面在歌台舞榭中击节按拍，偎红倚翠，为富豪们溜须拍马，买笑追欢，但心底里，却又感到荒凉与落寞。他的生活环境，是他应该鄙视的，但他又始终被困在他所能活动的唯一生活环境里。总之，既庸俗，又孤高，厕身金粉之中，心有渔樵之想。这就是李渔之为李渔。”[12]

看来仅以儒家的道德规范来衡量李渔，似乎无法完全理解他的人生信条和一系列行为。于是，有人在李渔身上看到了市民的形象，认为李渔的思想中心是个人的现世享用主义，“他重视的是现世生活的享乐，或称‘受用’，而这一点，正是市民生活的信条”[13]。这“享乐”二字，是不少研究者对李渔人生态度的共同看法。张春树和骆雪伦认为李渔对人生基本的态度是鉴赏和享受的[14]，胡元翎则以“鉴赏主义”（也就是“鉴赏的享乐主义”的简称）为李渔的人生哲学命名，并且将一种乐观主义性质寄寓其中[15]。不过，美国学者韩南却认为李渔那“亲切的享乐主义思想”是他故意装出来的姿态，李渔在生活中和作品中都喜欢把自己戏剧化，扮演不同的角色，但这些角色不过是因为对实现他的文学和社会目的有用处而被他选出来表演的一群合他心意的角色。观众这个概念，无论真实的还是假设的，在李渔都是头等重要的。他所有的角色都是为艺人李渔取悦观众，引起他们的兴趣而随时听命效劳的。[16]入清之后，李渔选择了一条“卖赋糊口”的道路，主要依靠创作小说、戏曲以谋生。有研究者提出，李渔之所以自觉挑选了“学而‘优’”这样一条不寻常的道路，有明确的思想支柱。李渔并不认为自己从事的是卑下的贱业，他完全抹煞了“士”与“商”的身分界限，而合文艺创作与经营逐利、山人清客与文化商人于一身。他以为不论口头上说得多么动听，实际上，“商贾之心”、“市井之念”是人人皆然，彼此相同的；不仅无卑鄙之可言，而且是处世所需，切不可无。[17]有人认为在李渔的人格形成中具有重要的现实意义的因素是市民文化，正是市民文化创造的新生活方式的存在，才导致了李渔的文学倾向和思想倾向的形成，即对人的多方面的才能的自由地、不受拘束地发展的追求。当他选择表达这一要求的工具时，其首选的基础还是他童年时就接触过的小说戏剧，而这两者都是典型的市民文化的产物。[18]甚至有研究者认为李渔是中国文学史上最为自觉地按照大众的、市民的文化趣味进行创作的文人，在市民阶层未能登上政治舞台，未能获得充分发展的中国古代史上，李渔是市民文人、市民文艺作家的唯一典型。[19]

1935年，孙楷第发表洋洋数万言的《李笠翁与十二楼》[20]一文，开始了现代学者对李渔生平与著述较为全面的探究。由于缺乏明确而权威的记载，研究者大多通过李渔的诗文追踪其人生历程，艰辛的考索一再证明李渔这个文本的“难以阅定”，而那些毁誉交织的评价则更有意味地体现了这一文本的独特。正因为李渔是独特的，他的人生哲学和行为方式引起了研究者浓厚的探究兴趣，在关于李渔研究的论著中，评传类占了相当大的份额。单锦珩、徐保卫和万晴川分别写有《李渔传》，肖荣、沈新林、俞为民各自撰写了《李渔评传》，还有黄丽贞、郭英德各撰有《李渔》一书，海外学者茅国权和柳存仁也合作撰写了英文版的《李渔》[21]。此外，黄丽贞的《李渔研究》不惜笔墨对李渔的人生历程作了追踪，黄果泉则对李渔的文化人格进行了探讨[22]。每一个评传者都希望将一个真实而全面的李渔形象展现给世人，不轻下一字评语，但传中见评，在材料取舍和文字表述中早已暗含了评传者对传主形象的把握。在单锦珩目光注视下的李渔是一位“人间大隐”[23]；郭英德眼中的李渔是享誉一时的“名士山人”[24]；沈新林则说李渔是一代“悲剧的天才”[25]。虽然其说各异，但李渔的形象已不再是袁于令描述中那副不堪的面目，这些“命名”更多表现出对李渔的好感。黄丽贞在《李渔研究》中带着浓浓的情感为李渔绘就了一幅乱世文人的画像：李渔这个多才多艺的文人不幸生于国破家亡的明季，无从实现其年轻时的侠思壮志，也无法完成隐居田园、耕耘度日的心愿，为衣食所迫，奔走四方。亲历了国破家亡的悲痛，内心有说不出的感慨，入清后即绝意仕途，以笔耕砚田自谋生。处乱世而不消极、不颓唐，热爱生命，讲究生活的艺术，努力著述，在平凡的生活中造就起不平凡的生命价值。[26]

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简介

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