求唐诗“神韵”以“肌理”——王士祯、翁方纲唐诗接受思想合论

The Approach to the Verve of Tang Poetry with Texture–A Discourse on Wang Shizhen and Weng Fanggang's Acceptance of Tang Poetry

与明代诗坛完全为宗唐风气所笼罩不同,清人常徘徊于宗唐与学宋之间,纠结于性情兴会与学问根柢合则双美的企盼中。王士祯是唐诗神韵论的倡导者,其早年的"谈艺四言"持兴会神到与学问根柢并重的观点,至晚年编《唐贤三昧集》等系列唐诗选本,则大力标举王、孟诗派"不著一字,尽得风流"的清空淡远境界。以王士祯再传弟子自居的翁方纲,由追寻唐诗"三昧"下一转语,将以王、孟那种冲淡空灵的诗之神韵为宗,改为以李、杜雄厚高浑的诗歌神理为本。对学杜的重视,使他由独尊唐诗改为宗唐祧宋,形成了求唐诗神韵以肌理的诗学主张,在强调"诗至性情"的同时,开以学问为诗和以考据入诗的风气。

Wang Shizhen is an advocate for the verve of Tang poetry.His early standpoint of ＂four words of art＂ stressed the same importance of inspiration and learning and his late edited poetical anthologies emphasized the purity and softness of Wang and Meng＇s school.Weng Fanggang,who considered himself as the third-generation student of Wang,modified the evaluation which signified the mightiness and powerfulness of Li and Du.As he thought highly of the learning from Du,he converted to a discriminating critic of Song poetry.He advocated the approach to the verve of Tang poetry with a focus on texture,and thus opened the trend of taking learning and textual research into poetry.