<fieldset id="oqblw"></fieldset>
精華熱點 詩學(xué)詩論/ON POETICS
清代詩論三大派
—— 神韻、格調(diào)與性靈
文 / 徐英才
清代詩詞理論有三大派，它們是神韻派、格調(diào)派，和性靈派。
神韻派
清代神韻派的主要代表是清朝著名詩人、文學(xué)家王士禎。王士禎受唐代司空圖、宋代嚴羽的影響，講究“興寄”和“神趣”。所謂“興寄”，就是詩人要把自己的思想情感不露痕跡地寄托在作品中，讓讀者自己去體悟。要“不著一字，盡得風(fēng)流”。這樣的作品才有詩味，才能令人回味無盡。這就是所謂的“味在酸咸之外”。而不是膚淺直白地表露出來，更不可雕琢太過。要“近之不浮，遠之無盡，神到不可湊泊”。以此平淡的手法，達到蕭散、簡遠的風(fēng)致。到了這個境界，也就到了神趣的境界，也就是神韻這個最高境界。
格調(diào)派
清代格調(diào)派的主要代表是清朝重臣沈德潛。沈德潛受明代提倡復(fù)古的李夢陽的影響，認為作詩必須注重“溫柔敦厚” 的儒雅詩風(fēng)，講究比興與蘊蓄的創(chuàng)造手法，不可“過甚”、“過露”，以致“失實”。沈德潛并不反對王士禎的神韻說，也認為”沖和淡遠”之風(fēng)是一種很高的境界，但又認為它只是詩之風(fēng)格的一種，”雄渾高古”才是詩之最高境界?！皼_和淡遠”講究含蓄，”雄渾高古”講究沉郁，所以，神韻派推尊王維、孟浩然，而格調(diào)派則推尊漢魏和杜甫。神韻派追求優(yōu)美之境，而格調(diào)派追求的是壯美之境。它們都強調(diào)蘊藉而有言外之意。
性靈派
清代性靈派的主要代表是清代詩人和散文家袁枚。該派實際上是明代公安派的“獨抒性靈，不拘格套”詩歌理論的繼承和發(fā)展，主張作詩應(yīng)“抒寫胸臆，辭貴自然，非從自己胸臆流出，不肯下筆”。它反對格調(diào)派的作詩要“溫柔敦厚”的復(fù)古傾向，也反對神韻派的作詩要“詩貴溫柔，不可說盡”，認為詩的本質(zhì)應(yīng)是人之感情的自然流露，所以作詩要直抒心靈，表現(xiàn)真情實感。袁枚所說的“性靈”，在絕大多數(shù)地方乃是“性情”的同義語。性靈派從自由地表現(xiàn)個性，率真地表達感情的要求出發(fā)，在詩詞藝術(shù)上提倡自然清新、平易流暢，反對雕章琢句、堆砌典故，反對以學(xué)問為詩，發(fā)現(xiàn)有我。但一般認為，性靈派的弱點是，把心靈看作文學(xué)創(chuàng)作的源泉，絕對化了文學(xué)是感情的表現(xiàn)，認為凡是真實地表達了感情的便是好作品，局限了作品對社會生活的反映。
The Qing Dynasty’s Three Major Schools of Poetics
------ Shenyun, Gediao, and Xingling
Text / Xu Yingcai
There were three major schools of poetics in Qing dynasty. They were the School of Shenyun (Godly Grace)，the School of Gediao (Stylishness), and the School of Xingling (Disposition).
School of Shenyun (Godly Grace)
The key person of Qing Dynasty’s School of Shenyun was Wang Shizhen, a famous poet and literatus in Qing dynasty. He, influenced by Si Kongtu of Tang dynasty and Yan Yu of Song dynasty, stressed the “embodiment of the intended” and the “godly delight.” That is to embody the poet’s feeling in the poem without leaving any noticeable trace in it, so that readers have to perceive it themselves. That is what is called “being appealing without expressing the appeal directly.” Such is the poem rich in poetic flavor and aftertaste. That is what is referred to as “the flavor beyond the ingredients of salt and vinegar,” so to speak. A poet shouldn’t directly reveal what is intended; nor should he color or polish his poem too much, which is a very shallow way of writing. Comparing poetry writing to anchoring a boat, the poet should moor his boat in such a way that “it shouldn’t look afloat if observed nearby nor should it disappear from the sight if observed from afar. It should be so well moored that no other boat can be berthed the same way.” This unpolished method is the access to the artistic realm of naturalness, leisureliness, and simplicity with a far-reaching effect. When it reaches this realm, it has reached the realm of Shenqu (Godly delight) , which is what is regarded as the highest artistic realm of Shenyun (Godly Grace).
School of Gediao (Stylishness)
The key person of Qing dynasty’s School of Gediao (Stylishness) was Shen Deqian, an important Qing Palace official. Influenced by the idea of restoring the classics advocated by Li Mengyang of Ming dynasty, Shen Deqian stressed the learned and refined style of “gentleness and sincerity” and emphasized the rhetoric methods of “analogizing and metaphorizing” ; “containment and reservation” in poetry writing without overstating or over revealing what was intended, so that the sincerity was lost. He didn’t object Wang Shizhen’s Shenyun Poetics, and also considered the “placid, simple, and far-reaching style a very highly artistic realm to reach, but these he considered just one of the many ways to write poetry. The highest artistic realm, in his opinion, was “the vigorous, highly-flavored, and quaint effect”. While “implicit” was the key to achieve “placid, simple, and far-reaching effect,” “being unstirred up” was the key to acomplish this “vigorous, highly flavored, and quaint effect.” Therefore, Shenyun iconized Wang Wei and Meng Haoran while Gediao, Han Wei and Du Fu. Shenyun seeked the beauty of gracefulness; Gediao the beauty of vigor. Both Shenyun and Gediao underlined what was beyond the expressed by containing and reserving what they would say.
School of Xingling (Disposition)
The key person of Qing dynasty’s Xingling School in poetry writing was Yuan Mei, a poet and prose-writer in Qing dynasty. As an inheritance and development from the theory of “no restrictions, but all for the expressing of one’s disposition” upheld by the Ming dynasty’s Gongan School, this school advocated the method of “writing what you feel, wording in what is natural, and no feeling, no writing” in poetry writing. It believed Gediao’s poetry writing theory “be gentle and sincere” had the inclination to restore the classical and therefore rejected it. It also opposed Shenyun’s theory that “the most treasured element in poetry writing is gentleness and therefore one should write in a reserved manner.” It believed that the true nature of poetry is the natural revealing of human feelings. Therefore, a poet should express his or her disposition directly and reveals his or her true feeling. What Yuan Mei proposed about “Xingling,” in most cases, equates the meaning of “disposition.” To comply with the requirements of freely expressing the poet’s individuality and sincerely expressing the poet’s true feeling, Xingling School advocated naturalness, freshness, plainness, and fluency as its artistic techniques. It opposed polishing and ornamenting poems; stuffing allusions and scholarly knowledge into poems. It emphasized the discovery of selfness. But it is a general believe that Xingling School considers Xingling or disposition as the source of literary creation, absolutizes the idea that literature is to express feelings, and believes that any poem that truly reveals reality is a good art work. These restrict writing from reflecting true social life.
Translated by Xu Yingcai / 徐英才譯
華人詩學(xué)會理事會組織機構(gòu)
會 長：徐英才
副會長：冰花、張庭、顏海峰
秘書長：李莉
成 員: (按拼音排列) 冰花、焦海麗、李莉、 虔謙、徐英才、薛凱、顏海峰、張庭
華語詩學(xué)會?？对姷钐谩肪幬蓡T
總 編：徐英才
副總編：張庭
內(nèi)容總監(jiān)：冰花
主編：虔謙（新詩部）
主編：天端（古詩部）
主編：焦海麗（評訪部）
主編：魏建國（詩論部）
主編：李莉（配音部）
副主編：焦海麗（新詩部）
副主編：耿慧、申美英（古詩詞）
副主編：李莉（評訪部）
編輯：(按拼音排列) 達文、李玥，歐路行、釋圣靜、無定河、西鷹、杰福瑞張
英語詩歌編輯部
主任：薛凱
主編：Sylvia Cavanaugh
副主編：Lisa Vihos
編輯：Gerry Brauer, James Burton, Danny Fahey, Cheryl Hamann, Scott Mills, Judy Rowe, Sheryl Slocum (按字母順序排列)
翻譯部
翻譯主編：李正栓、史潘榮、張智中(按拼音排列)
執(zhí)行主編：丁立群、段冰知、吳偉雄、任誠剛、石永浩、解斌、顏海峰、葉如鋼、楊秀波、楊中仁、于元元、張瓊、張俊鋒、張紫涵、趙宜忠（拼音排序）
文宣拓展部
部長：薛凱
微信微刊分部
主任：焦海麗
副主任：耿慧、鄧玉蘭、星星
中國文宣拓展分部
主任：無定河
副主任：釋圣靜
國際文宣拓展分部
主任：Cheryl Hamann
副主任：李玥
刊頭書法：徐英才
本期編輯：焦海麗
微刊審核：微刊部
請關(guān)注《詩殿堂》漢英雙語紙刊在全球發(fā)行
