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在晚明的文坛上,由于不满意“前七子”及其末流重形貌模仿的复古习气,茅坤在编纂和圈评《史记钞》《汉书钞》的过程中,明确提出学神理的复古主张,并且以“逸调”来坐实神理,在《唐宋八大家文钞》的批评实践中进一步加以推广和运用,使其最终被确立为古文批评的理想范畴。茅坤利用这一范畴,一方面对古文的标准范式和应有之义进行了规定;另一方面又利用其重塑文统,打通秦汉与唐宋,提出由唐宋入手,迂回学秦汉的新策略,对当时谨守秦汉门户的复古习气进行了纠偏。
In the literary world of the late Ming, Mao Kun was unequivocally dissatisfied with the vintage habit of “the first seven sons” and its last-minute appearance imitation, and Mao Kun explicitly put forward his ideas in the process of compiling and appraising “Shi Ji Chao” and “Han Shu” It also uses “Yi Tune ” as a realistic concept to further promote and apply it in the critical practice of the “Tang and Song dynasty” in order to make it eventually become an ideal category for the criticism of ancient Chinese . On the one hand, Mao Kun prescribed the standard paradigm and the proper meaning of ancient texts; on the other hand, it also used its remodeling of literary traditions to open up the Qin and Han dynasties and the Tang and Song dynasties. The new strategy, at the time to keep the customs of the Qin and Han dynasties were corrected.