论《唐贤三昧集》中的孟浩然诗

On Meng Haoran’s Poems in Collection of Samadhi Poetry by Bhadras of the Tang

王渔洋根据他的“神韵”诗说选编的《唐贤三昧集》 ,精心结撰了一个分别以王维、孟浩然的为神韵诗头号、二号样板的盛唐诗歌体系 ,为我们进行王、孟诗歌比较研究提供了一个独特的理论视角和阐释框架 ,为正确评价“神韵”说诗歌理论提供了重要的参数。孟浩然诗中的抒情主人公比王维诗更可爱 ,诗中画面更加朴拙 ,但在禅境诗方面却乏善可陈。诗禅相通的可信性和可行性是有限度的 ,“神韵”诗论和《唐贤三昧集》的选诗口径不能作为评价盛唐诗歌的唯一尺度。

On the basis of his spirit-resonance, Wang Yuyang’s Collection of Samadhi Poetry by Bhadras of the Tang constructs a high Tang poems’ system. His considering Wang Wei’s poems as the first templet and Meng Haoran’s poems as the second one offers a special theoretical view and an elucidatory circle for the comparative study of Wang and Meng’s poems , which enables us a very important parameter for theory of spirit-resonance poems. This article shows that the lyric dramatis personae in Meng’s poems are more lovable than the ones in Wang’s poems and Meng’s poetic scene is more rustic than Wang’s, but Meng’s Buddhist poems are stuffy. The creditability and feasibility of the reconciliation between poems and Buddhism is limited, so the theory of spirit-resonance and poem-evaluation standard in Collection of Samadhi Poetry by Bhadras of the Tangcan’t be considered as the only criterion to evaluate high Tang’s poems.