《文心雕龙·辨骚》对屈辞传统经学化阐释的顺从与背叛

《WenxinDiaolong. BianSao》the obedience and traitoring of the Argumentation in the perspective of Confucian Classics in the Traditional Qu Poems

汉儒拘囿于以经解辞,"经义",尤其是君臣伦理成为衡量文本价值的权威尺度,而漠视浸染浓郁荆楚文化的屈辞独特的艺术价值。刘勰一方面依照前人,"以经证辞",在《辨骚》中形成"四同"、"四异"的二元对立结构,在"四同"论处留有对王逸骚辞评判的明显依循痕迹,并将脱胎于《诗经》之"风、雅"设置为行为之线索。另一方面,其以南朝人的眼光与审美观品评屈辞,不仅对"四异"宽容,甚至肯定,还挖掘出文本所蕴含的美学特质。这是对屈辞传统经学化阐释的超越与背叛。

Confucians in the Han Dynasty analyzed Chu Songs under the guidance of Confucian classics. Confucian classics argumentation, ethics between the King and his subjects in particular, was the authoritative standard to evaluate literary works. Artistic values of Chu Songs with strong Jing-Chu cultural characteristics were ignored. Liu Xie followed previous scholars to interpret Chu Songs from the perspective of Confucian classics on one hand. Liu proposed contradictory Four Positive Propositions and Four Negative Propositions in Analysis of Lisao Style Literature. Liu＇ s interpretations of Four Positive Propositions clearly followed opinions of Wangyi, which were evidenced by Feng （folk songs） and Ya （literary works by scholars） in The Book of Songs. On the other hand, Liu, from the perspective and aesthetic view of scholars in the Southern Dynasties, maintained a tolerant and event affirmative attitude towards Four Negative Propositions and elaborated on the aesthetic feature of literature works, which can be deemed as the transcending of and deviation from the traditional interpretation of Chu songs from the perspective of Confucian classics.