“感物”与“寓言”之辨——《文心雕龙·辨骚》的“枢纽”意义重析

Distinguishing Between Ganwu Poetics and Allegorical Poetics

学界关于《文心雕龙.辨骚》篇有"非文学与纯文学"之辨、"正与奇"之辨、"常与变"之辨、"事义与抒情"之辨、"现实主义与浪漫主义"之辨等观点。根据《文心雕龙.辨骚》篇若干诗学命题的正反离合关系及其诗学观念,其中还暗含着寓言诗学与感物诗学两种诗学范式之辨。前者导源于汉代以《毛诗》《郑笺》的"比兴美刺"说为核心的诗学话语系统,是对《楚辞》中大量存在的神话寓言、历史寓言、咏物寓言和艳情寓言的诗学总结,其特征是感性形象与抽象寓意的分离;后者根植于汉末魏晋以降直至刘勰当世蔚为大观的以"缘情感物"说为核心的诗学话语系统,反映的是《楚辞》中已经出现的借景抒情、融情于景的表现形式,其特点是景物形象与情感意义的统一。这两种诗学范式贯穿于整个《文心雕龙》,而《辨骚》篇是《文心雕龙》中这两种诗学范式转换的"枢纽"。

There are many notions such as distinguishing between non - literature and fine literature, between normal and fantastic, between constant and change, between lyric and logic, and between realism and romanticism in research of Biansao of Wenxindiaolong. If we review the relations of the poetic propositions of Biansao of Wenxindiaolong, we can find the distinguishing be- tween Banwu poetics and allegorical poetics. Ganwu poetics are derived from the theory of Bixingeici of Songs in the Han Dynasty, and it is the theorization of the mythic allegories, historical allegories, scenery allegories and love allegories of Chici. Ganwu poetics root from the theory of Yuanqingganwu （caused by emotion and moved by scenery） in the period from the end of the Han Dynasty to the Six-Dynasties, and it is the theorization representing the emotion from the scenery of Chuci. Ganwu poetics and allegorical poetics are throughout the whole Wenxindiaolong, while Biansao is the key position of the transformation from allegorical poetics to Ganwu poetics.