明人“韵”论的诗学本体意蕴

On the Poetry ontological Significance of Mingss Theory on “Rhythm”

明人“韵”论在两个层面上展开。在“韵”之为“声”的层面上 ,明人揭示了诗之“声”,具有独立于“义”之传达的自指性及审美的情感性 ;在“韵”之为“神”的层面上 ,明人揭示了“神”在结构上对“声”之“有限性”的超越 ,在生成过程中对“声”之“人工性”的超越。而对工具性、人工性、有限性的超越使诗之“声”获得了澄明人与世界万物的本体功能。明人“韵”

Mings theory on poetic “rhythm” has two points. Firstly, Mings regard the “rhythm” as something like the “voice” which is not the meaning of concept but the form of feelings. Socondly, they consider the “rhythm” as the “spirit of voice” which is super limited in its structure and super man made in its forming. As a kind of man made and limited tool, the voice of poetry obtains the ontological function which can light man and his world. Mings theory on poetic “rhythm” means much to the modern research of Chinese poetry.