“直”与“婉”的分途和变奏:汉魏六朝“诗可以怨”美学阐释的历史展开

The Separation and Variation of Zhi and Wan:An Aesthetic Explanation of Poetry Could Express Resentment in Han Wei and Six Dynasties

中国传统文化中的"怨"本是一种冤屈不平、蕴而不发的负面生存体验。借由"诗可以怨"命题的转换与推动,道德伦理与政治语境中的"怨",经两汉《论语》注疏与屈原评价论争,开始进入文学与文论话语,其正向审美价值亦随之彰显。汉魏六朝"诗可以怨"美学阐释的历史展开,包括"怨"作为人之常情的正当性和因情感人的审美性两大环节:先是情感之"直"突破伦理之"和"的约束,后又分化为阳刚之"直"与阴柔之"婉"两种风格。前者赓续了"怨刺上政"的诗教传统,借由其人到其文的以事感人,张扬"怨"中积极进取、刚正不阿的精神内核;后者伴随着个体抒情的觉醒和对内心的审视,通过以情动人、言此意彼的艺术化凸显了"怨"本身的缠绵悱恻之美。

In the context of Chinese culture,yuan(怨)is often considered as negative and harmful living experience full of grievances and repression. With the transformation and promotion of poetry could express resentment, the positive aesthetic value of yuan is gradually revealed. As for the aesthetic formation of yuan, including two parts of the legitimacy of yuan being human nature and the aesthetic nature of touching people by affections: firstly,the“rectitude”of emotion breaks through the restriction of he(和) of ethics, then differentiated into two aesthetic styles of masculine rectitude and feminine grace and restraint. The former inherited tradition of resentment and sting. While for the latter, yuan becomes a positive aesthetic category which is moving and pleasant.