严羽对《诗经》的态度新探——以《沧浪诗话》和严羽的创作实践为考察中心

A New Study on Yan Yu's Attitude towards The Book of Songs: Taking Poem Theory of Canglang and Yan Yu's Poetry Creation for Example.

严羽的《沧浪诗话》在有宋一代诗话中堪称中流砥柱,对元、明、清的诗学理论和创作实践都产生了巨大影响。《沧浪诗话》所具有的一系列几近成熟的理论体系和独到的诗学理论,使得严羽《沧浪诗话》的研究一直是人们关注重点,如其中的"妙悟"说、"别材别趣"说,以及提倡师法盛唐的诗学主张都是后人理论研究的焦点。但《沧浪诗话》中一个最基础的问题,理论界却一直没有达成共识,那就是关于《沧浪诗话》中《诗经》的遮蔽问题。从传统诗学的角度来讲,《诗经》作为经学化的诗学源头是必不可少的,但是严羽在《沧浪诗话》中却一再削弱《诗经》的权重、弱化《诗经》的影响。本文拟从严羽本人的诗学理论和其个人的创作实践两个方面来进行一个尝试性解读,揭示《诗经》在严羽理论中"隐"的状态和个人创作实践中"显"的状态呈现一种互动,进而明确严羽对《诗经》以"用"示"尊"的态度。

Yan Yu's Poem Theory of Canglang,which can be viewed as a milestone in poetry works in the Song Dynasty poetry,has a significant impact on poetry practice and theoryin the subsequent Yuan,Ming and Qing Dynasties. With a series ofalmost mature theoretical systemand unique poetry theories,Poem Theory of Canglang has always been the focus of academic research,especially on his ' Miao Wu' ' Biecai Biequ' and his advocating learning from the poetry of the Tang Dynasty. Among its research,one fundamental question hasn't reach an agreement in academy: why did Yan Yu weaken or ignore intentionallythe role of The Book of Songs,which is regarded as the origin and classicin poetry creation? This paper attempts to approach this question from Yan Yu's poetry theory and poetry creation experience and concludes that Yan show his respect to this poetry classic: in his poetry theory in an implicit way,and in his poetry creation in an explicit way by following the writing originated from The Book of Songs.