试论《沧浪诗话》审美立场的得失——以《诗辩》开篇之立《楚辞》而弃《诗经》为例

Reconsidering the Aesthetic Position of Canglang Shihua: A Note on the Neglect of the Book of Songs in Yan Yu's Proposed Poetic Lineage

严羽在《沧浪诗话·诗辩》的第一章就提出了学习诗歌的次第。他大胆地背离了传统,把《楚辞》抬到了启蒙的地位,对《诗经》则只字不提。这体现了他对诗歌的独到认识,并以此为基础建构了纯乎纯的诗学体系。然而,《诗经》及其所代表的诗教思想,为后代诗歌尤其是盛唐之音的形成提供了源头活水。因为审美立场的不尽相合而把古代诗歌的源头排除在了诗统之外,是不符合文学史的客观历史事实的。

This paper reconsiders the aesthetic position of Yan Yu＇s CanglangShihua through a case study of its first chapter. Focusing on Yan＇s elimination of the Classic of Poetry from his proposed poetic lineage, this paper argues that such a bold rhetoric move, while somewhat justified, reveals an incomplete understanding of the formation of the High Tang poetry that Yan canonized, as well as a biased perspective of the entire Chinese poetic tradition.