从“情”与“采”的角度比较刘勰与钟嵘诗学观之异同

Comparison on Poetic Views between Liu Xie and Zhong Rong from the Perspective of “Emotion”and “Literary Grace”

刘勰与钟嵘在"情"与"采"的诗学观上存在相似之处:都强调"情"重视"采",树立"情""采"结合的审美理想,都批判用"采"过度的浮艳文风,其共性体现出时代的共识与呼唤。同时,他们在"情"与"采"的诗学观上又有个性:刘勰更具传统性,钟嵘更明显地体现出新变的特征。从宏观视角看,《文心雕龙》与《诗品》既表现出魏晋南北朝时期诗学思想的博大精深,也反映了文学自觉阶段里审美意识的解放与超越。

Liu Xie and Zhong Rang had similar views on ＂emotion＂ and ＂literary grace＂. Both of them attached great importance to ＂emotion＂ and ＂literary grace＂, developed the aesthetic idea combining the ＂emotion＂ and ＂literary grace＂, and criticized the gaudy literary style exerting excessively literary grace. The similarities of their poetic views embodied the consensus and appeal of the era. At the same time, their opinions were different in ＂emotion＂ and ＂ambition＂. Liu Xie＇s views embodied more obvious feature of traditional poetic education of Confucian, while Zhong Rong＇s views were more inclined to advocating the new changes of the era. From the macro- scopic perspective, Wen Xin Diao Long and Shi Pin not only reflect the extensive and profound poetic thoughts of the Wei, Jin, North- ern and Southern Dynasties, but also mirror the libration and surpassing of aesthetic awareness in the period of literary awakening.