论李白的批评家身份和批评体系——以他对玄宗诗坛的批评为中心

Li Bai as a Critic of the Poetry Scene in Emperor Xuanzong's Reign

就作为批评家的李白而言,他的批评活动主要是由对诗史的批评与对当代诗坛的批评两部分构成的。虽然两部分之间有联系,但历来注意得比较多的是他对诗史的批评,而他对当代诗坛的批则较少受到关注。李白对玄宗诗坛的批评,主要包括三个方面:首先,《古风》其一中对玄宗诗坛的总的论述,表现出作为批评家的李白对于当代诗坛的宏观把握与整体肯定;其次,他对孟浩然、杜甫、贺知章、李华、韦良宰、崔成甫等同时代诗人的批评,不但贯穿了他在《古风》其一中所提出的"复古"、"风雅"、"正声"、"怨刺"等审美标准,并且还创造了清真、天真、天然、风流、逸兴等一系列李白特有的范畴,由此构成他独到的诗歌审美理想;再次,李白对自身创作的观照与期许,如他对"清雄"风格的自觉体认与追求,在对"谪仙人"称号的认可背后所体现的对天才性的认识,以及对自身创作的"制作"期许等等,体现出作为批评家的李白在创作中的高度自觉。

As a critic,Li Bai＇s critical practice consists of his comments on the poetry history and on the coeval poetry writing,which are inherently related with each other.Comparatively speaking,his insights into contemporary poetry writing rarely attract researcher＇s attention.His achievements in this field mainly include the following.Firstly,in Gu Feng No.1 [Old Airs],Li Bai expounds his view on coeval poetry writing which reflects his general understanding and positive affirmation of it.Secondly,besides aesthetical standards such as ＂restoring the ancient,＂ ＂airs and odes＂ and ＂rectified sound,＂ which are the basic guidelines of his commentary on the writing of Meng Haoran,Du Fu,He Zhizhang,Li Hua,Wei Liangzai,Cui Chengfu,he also creates a series of concepts of his own such as purity and genuineness,artlessness,naturalness,unblocked grace,unconstrained inspiration,which embody his unique aesthetic ideals.Thirdly,his evaluation and keen anticipation of his own writing,for example,his realization and pursuit of a clear and sublime style,his realization of being gifted,and his hope to create literary artifacts,all reflect his keen consciousness as a discerning critic.