论中国古典诗学中的“厚”

On the Concept of “Thickness” in Chinese Classical Poetics

"厚"作为古典诗美学中不多的绝对正价概念之一,与中国古典诗歌的审美理想有着密切的内在关联。"厚"的意识虽然很早就出现在诗歌创作中,但作为观念要到明清时期才见于诗论。竟陵派论诗尤其重视"厚"的趣味,清初贺贻孙《诗筏》对"厚"的诗学意义做了最集中的阐发,加上此后论者的多方发挥,从内容上的意义丰富、表现上的含蓄蕴藉、结构上的稳妥浑成等方面揭示了"厚"的理论内涵,同时也说明了真、清、流易等品质在实际创作中往往能妨碍"厚"的道理。梳理历来对"厚"的阐述,可知其美学意蕴触及古典美学的核心价值,其理论内涵与很多诗学概念、命题产生交集与沟通,形成一个覆盖面甚广的概念群。

As one of the few concepts of absolutely positive value in classical poetic aesthetics,'thickness'( 厚) has a close internal relevance with the aesthetic ideals of Chinese classical poems. Although the awareness of 'thickness'first appeared in poetic creation in very early times,'thickness'was not seen as a concept in poetic criticism until very late in the Ming and Qing Dynasties. Jingling Poetic School( 竟陵派)paid special attention to the taste of'thickness'in their poetic criticism. In the early Qing Dynasty,He Yisun( 贺贻孙) made the most concentrated interpretation of the poetic meaning of 'thickness'in his work of poetic criticism entitled Poem-Writing is Like Rafting( 《诗筏 》). Some later poetic critics ’ multifaceted elaboration revealed the theoretical connotation of 'thickness 'from the respects of enriched meaning in content,subtle implication in expression,and stability in structure. They also showed that such qualities as genuineness,pureness,and smoothness could often hinder the truth of 'thickness'in actual creation. Sorting out the historical interpretations of 'thickness'in various dynasties,we can see that its aesthetic connotation touches upon the core value of classical aesthetics,and its theoretical connotation intersects and connects with many poetic concepts and with the generation of propositions,which has formed a conceptual group with a wide coverage.