明代诗论求“真”观念研究

The idea of seeking “Zhen” of the poetry criticism in the Ming Dynasty

在明代俗文学兴盛和心学发展的背景下,明代文人士大夫以"真"论诗,突破了传统诗论对诗歌写真内容的控制及对写真程度的节制。"真"作为明代诗论的新价值标准,在一定程度上颠覆了传统诗论的"正"的要求。明代文人士大夫也认识到诗之"真"的边界需要限定,求"真"的同时也需要保证诗的"美"。因此,"趣"成为明代诗论中重要的诗美形态。但明代诗论没有形成限定"真"的新标准。这种不稳定的诗歌求"真"观念一直持续到近现代。明代诗论对"真"的探索、使用与反思对当下的诗学理论与实践均具有参考价值。"真"的边界问题、"真"与"美"之间的张力问题也都需要继续辨析。

In the context of the development of popular literature and Xin Xue in the Ming Dynasty, literati and scholar-bureaucrats at that time broke through the control of traditional poetry criticisms over the content and degree of poetry with the idea of ＂Zhen＂（being faithful）. As a new valuable standard of poetics in the Ming Dynasty, ＂Zhen＂ subverts to a certain extent the requirements of ＂Zheng＂（being right） of the traditional poetics. The literati and scholar-bureaucrats in the Ming Dynasty also realized that the boundary of ＂Zhen＂ in poetry should be specified, and that ＂Beauty＂ of poetry should also be guaranteed at the same time of seeking ＂Zhen＂. Therefore, ＂Qu＂（being interesting） became an important aesthetic form of poetry in the poetry criticisms in the Ming Dynasty. However, the poetry criticisms in the Ming Dynasty did not form a new standard to specify ＂Zhen＂. This unstable idea of ＂Zhen＂ of poetry lasted until the modern era. The exploration, use and reflection of ＂Zhen＂ in Ming Dynasty poetry criticisms provided valuable reference for both theory and practice of current poetics. The problems of the border of ＂Zhen＂ and the tension between ＂Zhen＂ and ＂Beauty＂ also need to be further analyzed.