生命之“骨”的特殊位置与刘勰“风骨”论的特殊内涵

On the Significance of “Bone”and the Unique Connotation of Liu Xie's Concept of “Wind and Bone”

"骨"在生命整体结构中亦内亦外、内层居外、外层居内的特殊位置,使得刘勰在《文心雕龙》中能够组成多种类型的喻体组合,以譬喻不同形式的文章整体结构。"骨鲠—肌肤(毛发)"组合譬喻"志(意)—辞(言)"二分式文章结构,其中"骨"统喻文章之意;"神明—骨髓—肌肤—声气"组合譬喻"情志—事义—辞采—宫商"四分式文章结构,其中"骨"特喻文章内容的外层"事义";《风骨》篇独创的"风—骨—采"组合譬喻的则是"骏爽之情—端直之言—修饰之辞"这种特殊的三分式文章结构,其中"骨"又特喻文章的内层之辞即"端直之言"。刘勰针对南朝"采滥忽真"的不良文风,一方面以"风"规定文意,喻骏爽之情,以防"忽真";一方面着意将文辞分为"骨""采"两层,"骨"喻端直之言,为文辞主干,以摈除"腴辞"和"芜词",同时又要求适当饰以文采,以构成文质兼备、华实相济的理想文章。

In the structure of life,＂bone＂is positioned between the inside and the outside of life structure,taking the special position of the inner side of the outside and the outer side of the inside. In The Literary Mind and the Carving of Dragons,Liu Xie＇s concept of ＂wind and bone＂is composed with multiple combinations of analogies of bone to analog different forms of the overall structure of writing. Main types include the following. First,＂bone and flesh-skin（ or hair） ＂is used to refer to the duality of ＂intent（ concept） and words（ language）,＂with ＂bone＂indicating the concept of writing. Secondly,in the writing structure of ＂spirit,bone-marrow,flesh-skin and voice-air ＂which is used as an analogue to ＂emotions,literary quotation,diction and rhythm,＂＂bone＂refers in particular to ＂literary quotation＂which is on the outside of affections. Liu Xie was the first to combine the two words ＂wind＂and ＂bone＂into one phrase in the section ＂Wind and Bone. ＂In the section ＂Wind and Bone,＂where the two characters ＂wind＂and ＂bone＂are combined into a phrase for the first time,Liu Xie put forward the combination ＂wind,bone and embellishment ＂ to refer to ＂emotions,unadorned words and figurative language. ＂ In this combination,＂bone＂refers to unadorned words. Therefore,Liu Xie could promote his ideal literary writing that had unadorned words to convey the theme as the ＂bone,＂emotions to carry the ＂wind＂and embellished words to achieve the style.