追寻唐诗的声韵之美——兼论明人的学诗路径

On the Prosodic Beauty of Tang Poetry

由具体而微的声韵、体制入手,倡言"诗必盛唐"而追摹唐诗特有的声情和神韵,是明前后七子及其追随者的学诗路径。明代诗人对唐诗的审美接受和理论阐释,经历了从浑厚圆融的声响、音调模拟,到具体而微的格律用韵分析,再超越声律格调而走向对诗之兴象风神的审美感悟,这样一种探索唐诗声韵之美的曲折过程。与审音辨体的"格调"论相伴随,对唐诗"神韵"的揭示和阐释,一直影响着明代唐诗接受的走向,虽说还不能完全准确把握唐诗的韵外之致,但对唐诗美典奥秘的领会已逐渐趋于深入。

The way how the Former Seven Poets （前七子）, the Latter Seven Poets （后七子） and their followers of the Ming Dynasty learned to write poems began with the specific and delicate acoustic and prosodic system. They highly praised Tang poetry, and learned its unique acoustic emotion and romantic charm. The aesthetic acceptance and theoretical interpretation of Tang poetry by the poets of the Ming Dynasty underwent a circuitous process in seeking for its prosodic beauty, starting from the imitation of its resonant and harmonious tones and tunes, making an analysis of its application of specific and delicate metric patterns, then going beyond its limited prosody and artistic style, and finally achieving an aesthetic awareness of poetic image, style and spirit. Together with the theory of artistic style which focused on examining sounds and differentiating styles, the disclosure and interpretation of its romantic charm produced an influence on the orientation of the acceptance of Tang poetry by the poets of the Ming Dynasty. Though they could not fully and accurately grasp the essence beyond its romantic charm, they gradually had a deeper understanding of its beauty, elegance and profundity.