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前七子简介(资料简历图片)

文学,七子,政和前七子简介(资料简历图片)

发布时间：2016-12-08加入收藏来源：互联网点击：

前七子是明弘治、正德年间（1488―1521）的文学流派。成员包括李梦阳、何景明、徐祯卿、边贡、康海、王九思和王廷相七人，以李梦阳、何景明为代表。首见于《明史·李梦阳传》 。为区别后来嘉靖、隆庆年间出现的李攀龙、王世贞等后七子。 七子皆为进士，多负气节，对腐败的朝政和庸弱的士气不满，强烈反对当时流行的台阁体诗文和"��缓冗沓，千篇一律"的八股习气。其文学主张被后人概括为大力提倡"文必秦汉、诗必盛唐"，旨在为诗文创作指明一条新路子，以拯救萎靡不振的诗风。他们都怀着强烈的改造文风的历史使命，却走上了一条以复古为革新的老路。前七子崛起文坛之后，其复古主张立迅速风行天下，成为文学思想之主流，掀起了一场文学复古运动。这在明代文学史上有一定的进步意义。 但他们一些具体的文学见解不尽相同，创作上各呈特色。李梦阳在复古模拟上坚持主张"刻意古范"，句模字拟，逼肖前人；诗重气魄，追求雄奇、豪放的风格。何景明思想较灵活，主张对古人作品要"领会神情"、"不仿形迹"，以达到"达岸舍筏"的目的；诗重才情，偏向清新一路。徐祯卿诗论颇多精辟、独到之处，在追随李、何后其诗歌风格出现了明显的变化。康海、王九思主要成就在散曲、杂剧，诗多率直。边贡、王廷相短诗清新、明快，但总体成就较逊色。前七子的文学主张和创作实践都有现实意义，但由于过分强调复古，文学的创造性显得不足，有的甚至沦为"高处是古人影子耳，其下者已落近代之口"，给文坛带来新的流弊。,

概述

明弘治、正德年间（１４８―１５２１）的文学流派.成员包括李梦阳、何景明、徐祯卿、边贡、康海、王九思和王廷相七人，以李梦阳、何景明为代表.首见于《明史.李梦阳传》。为区别后来嘉靖、隆庆年间出现的李攀龙、王世贞等七子，世称“前七子”。七子皆为进士，多有气节，对腐败的朝政和庸弱的士气不满，强烈反对当时流行的歌咏台阁体诗文和“�c缓冗沓，千篇一律”的八股习气，大力提倡“文必秦汉、诗必盛唐”，旨在为文人创作指明一条新路子，以拯救萎靡不振的古文诗歌.他们都带着强烈的改造文风的历史使命，却走着一条以复古为革新的老路.前七子的观点提出之后，立即风行天下，成为文学思想之主流，掀起了明代文学的复古运动.这在明代文学史上有一定的进步意义.但他们一些具体的文学见解不尽相同，创作上各呈特色.李梦阳在复古模拟上，居七子之首，主张“刻意古范”，句模字拟，逼肖前人，但在后期对此深有悔意；诗重气魄，追求雄奇、豪放.何景明思想较自由，主张对古人作品要“领会神情”、“不仿形迹”，以达到“达岸舍筏”的目的；诗重才情，偏向清新一路.徐祯卿诗论颇多精辟、独到之处，作品兼有江南文学的华美和北方文学的刚劲.康海、王九思主要成就在散曲、杂剧，诗多率直之作.边贡、王廷相短诗清新、明快，但总体成就较逊色.前七子的文学主张和创作实践都有现实意义，但由于过分强调复古，文学的创造性显得不足，有的甚至沦为“高处是古人影耳，其下者已落近代之口”，给文坛带来新的流弊. Ming Hongzhi, Masanori years (148-1521) literary genre. Members include Meng-yang Li, Jing-ming, Xu Zhen Qing, side tribute, KANG Hai, Wang Jiu-si, and Wang Tingxiang seven to Meng-yang Li, Jing-ming, as the representative. First appeared in the "History of the Ming. Meng-yang Li Chuan . " The difference was Jiajing, Longqing years, Lee has emerged Penlon, Wang Shi-zhen in seven children, the Bank said that "former Seven." Seven Jie Wei Scholars, more than there is integrity, the royal government of corruption and weak morale and dissatisfaction Yong, strongly opposed the then popular singing Taiwan Pavilion body of poetry and the "redundant Da u2020 ® slow, uniform," the stereotyped habits, strongly advocated "Bi-Qin and Han Dynasties , poetry must Tang ", aimed at creative writers indicate a new way to save the flagging classical Chinese poetry. They are the transformation of style with a strong historical mission, but walked with a retro as the innovative formula. the first seven sub - point of view put forward immediately after the popularity of the world, to become the mainstream of literary ideas, setting off a Ming Dynasty literary retro movement. This literary history in the Ming Dynasty there is definite progress. but some of their different views of specific literary, creative submissions on the characteristics of each . Meng-yang Li on the retro analog, ranking first in the seven, which stands for "deliberately old Fan," saying the word to be mold, the very image of their predecessors, but in the latter part of this deeply remorse; poetry re-spirit, the pursuit of magnificent, uninhibited. He Jing-ming, the more freedom, advocate ancient works to "understand the expression" and "not fake acting" in order to achieve "reach shore homes raft" purpose; poem re-own, tend to clean all the way. Xu Zhen Qing poetics many brilliant, unique , works of literature in China and the United States both southern and northern literature bold. KANG Hai, Wang thought the main achievement in Verse 9, dramas, poetry more straightforward to make the. Bian Gong, Wang Tingxiang short poetry fresh and crisp, but the overall success than less. before the seven literary ideas and creative practice have practical significance, but because of too much emphasis on retro, literature, creative seems inadequate, and some have even become a "shadow ear height of the ancients, under which persons have been off the mouth of modern times", to bring new literary drawbacks.

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