“自为一源”:许学夷《诗源辩体》中的陶诗论

Tao Poetry Itself is a Source: Criticism of Tao's Poems in Xu Xueyi's Shiyuanbianti

在明代文学复古运动中,陶诗几乎一直没有得到正确的评价。以李东阳为首的茶陵派虽然确立了陶诗批评的艺术标准,但其后的前、后七子派及其后学却没有继承之,他们提出"诗弱于陶"的观点,并视陶诗为"偏格",斥陶诗于古诗宗法对象之外。在明代复古诗学进程中,真正走出陶诗批评困境的是晚明的许学夷。面对七子派及胡应麟等人在"古体宗汉魏"的诗学宗尚影响下所形成的"诗弱于陶"以及陶诗属"偏门"的传统观念,许学夷推崇陶诗之自然风格,提出陶诗"自为一源"的论调,并进而指出陶诗之"流",实属难能可贵,这也反映出明代复古诗学演进过程中对陶诗批评的自我调节与逐渐体认。

In the literary movement restoring ancient ways of the Ming dynasty, Tao poetry had almost never been properly evaluated. Although Chaling School （茶陵派）led by Li Dongyang established the art standards of Tao po- etry criticism, the former seven scholars and the later seven scholars did not inherit it. They put forward the view that ＂poems began to be weakened from Tao＂ and regarded Tao poetry as ＂partial pattern＂. They excluded Tao＇ s poems from the objects of ancient poetry. In the process of restoring ancient ways of poetic in the Ming dynasty, the person who really came out of the dilemma of Tao poetry criticism was Xu Xueyi of the late Ming dynasty. In the face of the seven scholars, Hu Yinglin and other scholars＇ traditional concept that ＂poems began to be weakened from Tao＂ and Tao poetry was ＂partial pattern＂ ,Xu Xueyi admired the natural style of Tao poetry and put forward the argu- ment that Tao poetry itself was a source,then pointed out the influence of Tao poetry,which was rare and commend- able. This also reflects people＇ self-regulation and gradual awareness of Tao poetry criticism in the evolution of resto- ring ancient ways of poetic in the Ming dynasty.