试论小山乐府的“破空”与“破有”

On the “Pokong” and “Poyou” about Xiaoshan's Verses

刘熙载论曲以"破空"与"破有"为至上,并以此为标准回应朱权继续推张小山为"词林宗匠",刘氏批评深刻。小山乐府的价值在于以他的特别性传神地呈现了刘氏所概述出的这种审美趋向,也正是因为这一点,无论从中国山水艺术的审美,还是从后期元代士人对所谓宋元文化的传承来说,小山乐府均有它的特别意义。本文从六个不同方面试图指出小山乐府"破空"与"破有"的内涵、对马致远等前辈新跨越,站在宋元文化大背景上看它的优势与不足,同时亦想把本文写作成把握刘熙载《艺概·词曲概》的实例。

Liu Xizai discussed on dramas in the major standard of ＂Pokong＂ and ＂Poyou＂, as a standard response to Zhuquan to continue to elect Zhang Xiaoshan for ＂Cilin leader＂. We think Liu Xizai＇s criticized profoundly. The value of Xiaoshan＇s verses in his particular vividly presents this aesthetic trend outlined out by Liu. It is also because of this, both from the aesthetic of Chinese landscape art, or from the inheritance of Song ＆Yuan culture of late Yuan Dynasty intellectuals, that Xiaoshan＇s verses has special comprehensive significance. This article attempts to point out the connotations of Xiaoshan＇s verses ＂Pokong＂ and ＂Poyou＂ from six different aspects, a new leap over predecessors of Ma Zhiyuan, and its advantages and disadvantages under the cultural background of the Song and Yuan Dynasties. It also tends to regard this article as a instance of comprehension of Liu Xizai＇s Yieai Ciaueai.