六朝“文笔”论与文学观——《文心雕龙》“文笔之辨”探微

Wen and Bi and the Literary Theory in the Six Dynasties:Distinction between Wen and Bi in Wen Xin Diao Long

六朝时期文学批评上提出的“文笔”论,体现了其时批评家们对文学性的认识,反映了文学观念的演进过程。故近现代以来不少专家学者对此重要问题撰文予以探讨,其中又较为集中在《文心雕龙》的“文笔”论及其与六朝时期“文笔”论之关系的研究上。本文通过对黄侃、刘师培以及郭绍虞等具有代表性的研究者对“文笔”问题研究观点的进一步辨析,认为刘勰《文心雕龙》基本恪守“有韵为文而无韵为笔”的界划原则;还指出:有的论著认为萧绎《金楼子·立言篇》的“文笔”论较为进步并体现出一种近乎纯文学的文学观,这种观点是不正确的,因为至少至《文心雕龙》,情、采、韵作为“文”的三个要素就已经系统提出,并作为“文章”写作的明确要求。

The theory of Wen and Bi in literary criticism of the Six Dynasties presents on one hand the critics’ understanding of literariness at that time, and on the other, the progressive development of literary theories. Modern studies tend to focus on the relation between the two theories on Wen and Bi, one from Wen Xin Diao Long, the other from the Six Dynasties. This paper intends to make a further investigation into the problem based on the studies done by such representative scholars as Huang Kan, Liu Shipei and Guo Shaoyu.