“诗”与“乐”的相对运动——中国诗歌史别解

The Relative Movement of "Poetry" and "Music"——An Other Explanation of Chinese Poetry's History

苏轼以来,人们只是津津乐道于"诗画"关系;对于中国诗歌史,又习惯于从社会学、历史学的角度进行描述。其实,诗歌和音乐之间的关系更为久远、更为本质。由"诗乐"关系来审视,可以有效地揭示出中国诗歌嬗变的内在原因。具体而言,在最初的《诗经》时期,"诗"与"乐"混为一体;到《楚辞》阶段,"诗"开始独立,必然分离于"乐",但它为了自身的审美价值,又须以"乐"附丽之,以吟咏的音乐美来增强其审美效果;至魏晋以降,这种审美追求的进一步加强就导致"诗"的声律化;再往后,"诗"继续进化,就必然地由口头吟咏的声律之美而渐至于内部的意蕴之美,"乐"入于其内而化为其质,"诗"的深层具备了音乐效应,实现了乐化,在最大程度上表现了音乐效应。由四言而骚而古而律而词,其必然性正在于此。

Since Su Shi, there has only been talking the relationship between poetry and painting. In fact, the relationship between ＂poetry and music＂ is profound and essential, from which we can effectively find the reasons for the evolution of Chinese poetry. In short, the overall development of Chinese poetry trend is reflected as the the progressive state relationship between poetry and music, which includes the following phases： ＂ the original mixture＂ of ＂poetry and music＂, the separation and independence of ＂poetry and music＂, the combination of poetry and music （the pursuit of sound beauty）, the poetry-musical changes of poetry （deep internal pursuit of poetry music effects）.