美学与情性的两极差异:从《鹦鹉赋》到《白鹦鹉赋》

Two Extremes of Aesthetics and Emotion:from Ode to the Parrot to Ode to the White Parrot

王维以其特殊的道学精神和禅宗深度,从价值理性的层面颠覆了《鹦鹉赋》的原初意义,以儒家的温柔敦厚的诗教原则,减轻了赋的"铺陈"比重而追求比兴并用的凝练简朴,其形式语言趋于空灵,并注重以形传神的形象塑造,其律赋具有了高趣远旨的美质。从《鹦鹉赋》到《白鹦鹉赋》,当是两个里程碑,实现了两种诗学的华丽转身,反映了两个时代的美学趣味,呈现出两种赋体的典型形式,也表现了两种人格精神气质、生命意志与生存智慧,形成了一个"务胜人"而一个"务感人"的两种鹦鹉话语,也是一种诗学对另一种诗学的积极取代。

WANG Wei subverted the original meanings of Ode to the Parrot on the level of rational value through his peculiar Taoist spirit and Zen depth.Meanwhile,he reduced the ＂outlaying＂ ratio in the Odes and revealed the simplicity of metaphors and similes with the poetry principle of Confucian placidness.The sentences in these two Odes describe transparency and focus on showing the spirit through depicting the form,both of which bestow the Odes with aesthetics of high taste.These two Odes are like two milestones and realize revolution in poetry,and they also reveal the aesthetic tastes in two periods.The two Odes represent two typical forms of odes,presents two spiritual features of two different personalities.