论唐以后“香奁体”诗作的发展流变

"香奁体"是对韩偓《香奁集》诗风的一个概括性称谓,这一诗歌风格常为后人所效仿,其中以宋末江湖诗派及元末杨维桢等人的创作较具规模。唐以后的香奁体诗作对于《香奁集》的效仿往往存在着较为明确的选择性,其内容及风格也大体保持着一定的倾向性,但有时也会因受到当时其他文学体裁或诗学观念的影响而发生变化。至明清时期香奁体的概念开始逐渐泛化,其含义也有所延伸,此时大量出现的个人艳诗集也与其存在着较为密切的联系,从而显示出越来越强的影响力。

A Discussion on the Developments of ＂Xiang-lian Style＂ Poetry after Tang Dynasty

"Xiang-lian Style",a recapitulative appellation to Han Wo’s Poetry of Xiang Lian,is frequently imitated by the following poets represented by the literary creations by the Poetic School of Rivers and Lakes in Late Song Dynasty and Yang Wei-zhen in the Late Yuan Dynasty.The selectivity of the imitations to Xiang-Lian-style works after Tang Dynasty seems to be conscious with its theme and style maintaining a distinctive tendency as well as changes when influenced by other literary genres or poetical views.The conception of Xiang-lian Style tends to be generalized in the Ming and Qing Dynasty,the meaning of which has also been expanded.Meanwhile,a large number of personal amorous poetry in this era also displays intimate connections with it.Therefore,we believe that Xiang-lian Style poetry contributes significant influence to the socalled amorous poetry after the Tang Dynasty.