试论乾隆诗坛的“抑情”与“尊情”

On "Emotion Restrain" and "Emotion Respect" in the Poetry Circle and the Typical Ones at the Ages of Qianlong in Qing Dynasty

诗歌的情感性最为突出,但是乾隆诗坛却出现了“抑情”与“尊情”两种区别明显的审美价值取向。“抑情”的主要代表是沈德潜和翁方纲,其主要局限是:在“抑情”观念影响下的诗人和诗作,无论是情感的真挚还是思想的深度,都流于平庸显浅;而且不自觉地在一定程度上成为庸俗士风甚至庸俗文学思想的支持;更为可惜的是,中国诗坛可能因此而埋没了众多名家。“尊情”的主要代表是袁枚和黄仲则,其主要价值是:在文化高压下依然敢于大张“情之旗帜”,秉持进步的人性论,倡导并实践了自然人性和真情的抒发;诗作明显具有了近代民主思想的端倪;真正张扬了诗歌的本质。

On the outstanding emotionality of poetry,there were two kind of obviously different aesthetic crieria of 'emotion restrain'and 'emotion respect' at the ages of Qianlong in Qing Dynasty.The typical figures of the 'emotion restrain'were Shen Deqian and Weng Fengguan,with key disadvantages of usual and simple emotions and profoundness upon the poets and their poems and tending to be the supports of the shortcomings unconsciously with vanishing of many talent poets.The typica figures of the 'emotion respect'wre Yuan Mei and Huan Zhongze with main achievements of advocation he 'theme of emotion' under the cultural pressures and adhering to the humanity,exercising the natural pen nality and expressing their true feeling,and their poetry had manifested the beginning of modern demoaacy and the essence of poetry.