环绕唐五代诗格中“势”论的诸问题

On questions centered around “momentum”(势) in the poetic composition of the Tang and the Five Dynasties

作为中国古代文学理论的重要范畴之一,唐五代诗格中的“势”论,有其特定的理论渊源。“势”的含义的发展有一个过程,尤其是被兵家借用为兵法概念,即兵“形势”和兵“技巧”以后,遂进而影响到东汉以后的书论,意谓字体的形状和结体的态势;影响到文论,即指文章的风格。至唐王昌龄撰为《诗格》,提出“十七势”等诗学概念,则谓诗歌创作中的运思和意脉的流转变化。至于皎然《诗式》、齐己《风骚旨格》、僧神《诗格》等,虽借用禅宗话头,巧立名目,然其所谓“势”论,也大抵与王昌龄相近,而与禅学中的“势”并无深层关系。

As an important category in Chinese classical literary theory, ＂Momentum＂（势） has its special theoretical origins. It was especially used in the military concept in the art of war, as in ＂military momentum＂（兵形势） and ＂military technique＂（兵技巧）, which in turn influenced handwriting theory and literary theory, meaning the shape and tendency in a character or the style of article, after the Eastern Han dynasty. By the Tang dynasty, Wang Changling composed Poetic Forms（《诗格》）, who employed＂momentum＂ to refer to the flow and turning in the sense of a poem. In such works as Jiao Ran＇s Poetic Styles （《诗式》）, Qi Ji＇s Major Styles in Feng and Sao Poems （《风骚旨格》）, although the concept of momentum was apparently discussed as if it were an idiom of Zen, hut actually meant more or less the same as with Wang Changling, while having little relationship with the concept of ＂momentum＇in Zen.