摘要：
李攀龙的七律崇尚盛唐正格.在七律选学上,他以《古今诗删》《唐诗选》为代表,选录了初唐大量的应制诗,同时以盛唐七律为正宗,排斥中晚唐,实际上反映了他对七律源变的深刻考察.李攀龙贬斥杜甫七律的变格,同样源于他对七律正格的呼唤.在这种七律正体观的影响下,李攀龙从体裁、章法、诗风等方面,努力在实际创作中尝试创新性的回归.体裁上,重新建构七律与歌行之间的同源关系,使七律由"诗歌"向"歌诗"的传统转变.章法上,以往复顿挫之法来避免七律的平板单调.诗风上,崇尚盛唐时期以王维、李颀为代表的温和典雅之风,为达到这种典雅之风,在用典上不着痕迹,十分考究.在情景关系的处理上,突破情景融合的传统模式,或全以景物的意象化,或全以情感的意象化,形成完全意象化的表达.%LI Panlong''s Seven-words Poems advocated the f Flourishing Tang Dynasty. To select the Seven-words Poems, he took Selections of poems and Tang Poems as references and excerpted lots of conventional poems in the early Tang Dynasty. He held that the poems in the Flourishing Tang Dynasty were better than the Middle and Late Periods of the Tang Dynasty, which reflected his deep thinking on the development of Seven-words Poems. LI Panlong demoted DU Fu''s Seven-words Poems which were not obeying the iambics. He called for the traditional Seven-words Poems. He made great efforts to return to traditional Seven-words Poems. For example, on poetry forms, he reconstructed the relationship of Seven-words Poems and made Seven-words Poems from text poems to song poems. On the organization of writing, he used the variable forms to avoid the monotonic poems. On the style of poems, he advocated WANG Wei and LI Qi''s Seven-words Poems, which represented the elegant poems. In order to write the elegant poems, he advocated using allusion without tracks. He liked to fully use imagine words, such as scenery imagination or emotion imagination, to express himself.
