中国诗学思想史上的新开拓——杨万里以“兴”为中心的诗学理论

A New Development in the History of Ideas of Chinese Poetics——Yang Wanli's Poetic Theory with"Arouse"as Its Center

在中国诗学思想史上,在对"兴"认识的纷纭歧见中,杨万里是第一个自觉而又鲜明地站在诗歌审美系"自己运动"的高度对"兴"作出了提纲挈领的阐述,言词简朴却内蕴丰富。他切入了"兴"的内核,剖析出其构成要素、运动形态和内在机理;他突出了审美实践的重要意义;他强调了审美主体的创作个性和能动作用。在注重理念、注重书卷、注重内省、注重技法、注重衣盂的南宋诗坛,杨万里之"兴"论无疑具有振聋发聩、开拓新变的作用:在创作理念上,正确地揭示了诗是社会生活的产物,是审美主体与审美客体在具体特定的场合状态下彼此间自然的、必然的矛盾运动的产物;在创作方法上,反对沿袭模拟、"夺胎换骨"、"点铁成金"的模式化,创作出清新自然、活泼灵动的作品。杨万里的诗学理论对后世产生了重要影响。

In the history of ideas of Chinese poetics, among diverse opinions of ＂arouse＂, Yang Wanli was the first one to give an elucidation to the notion consciously and distinctively. He explained the kernel of ＂arouse＂ and analyzed its constituting elements, morphology of movement and inner texture. He laid emphasis on aesthetic practice, and the creative individuality and active function of aesthetic subjectivity. Yang＇s theory brought about a new change among the poets. For the idea of creative writing, Yang correctly revealed that the poem is the product of social life and a natural and necessary contradictory motion of both the subject and the object of aesthetics in particular status. For the creative method, Yang disagreed the stereotypes of poetic writing, and he himself wrote fresh, natural and vivid poems. His poetic theory has influenced the later poets.