从“无我之境”到“有我之境”——兼探大历诗风演进的一个侧面

From “scene from which he remains detached” to “scene involving the poet” A Study into One Aspect of the Dali Evolutionary Period of Poetry

古典诗歌情景交融艺术的发展过程中,自然天成的"无我"与人工作意下的"有我"是长期并存且互为消长的。大历诗风演进的一个重要的侧面,便是将此前占据主导地位的"无我之境"朝"有我之境"偏胜的方向推移。在感受与表现相分离的条件下,大历诗人们改变了传统"因物兴感"、"触景生情"的创作路线,从既定情意指向出发来"缘情写物"和"移情入景",并就选景、写景、构景多方面贯彻了这一基本方略,造成"以我观物,故物皆著我之色彩"的艺术效果。大历诗坛的新变尚有众多局限,其意义在于当主情的"唐音"开始向主意的"宋调"转型之际,更在主情诗学内部开启了由"无我"向"有我"演变的另一条通道,为后来晚唐诗以至两宋曲子词的艺术创新作了准备。

Throughout the history of the art of pootry, where two elements - the scene and the spirit compliment each other, the natural form of ＂with me＂ and the artificial scenario of ＂without me＂ have accomplished each other. One significant aspect of the evolution of Dali poetry is that it promotes the transition from the pre-dominant ＂without me＂ characteristic to the preference of ＂with me＂ approach in writing poems. With the separation of experience and expression, the poets of Dali period abandoned the aesthetic form of ＂let objects arise the feelings＂, and applied a new form of ＂let emotions guide the objects＂. At that time, the idea was fundamental throughout the creation of poems, from picking, describing scenes to building scenes, which results in a ＂with me＂ artistic outcome. Despite of the limitation of the evolution of poetic forms, the Dali period has paved way for the transition from ＂without me＂ to ＂with me＂ in Tang poetry, and for the innovation from Tang poetry to Song poetry.