“诗史”与“诗乐”:宋明诗学的理论转向与清代诗学的进路

“Poetic History” and “ Poetic Music”: The Theoretical Turn of Poetics in Song & Ming Dynasties and the Progress of Poetics in the Qing Dynasty

"诗史"作为宋人眼中具有典范意义的范畴,突出了超越诗艺的人伦价值、叙事写物的实录品格和以文为诗的篇章布局等意涵。"诗乐"作为明人眼中具有典范意义的范畴,则强调另外一些侧面,如诗与文的不同文类特征、诗与感觉现象和情绪状态的关联、诗对意图干预的拒斥、诗的表达不必拘泥于事实或物象的准确与否,等等。绵延相续的唐宋诗之争构成宋明诗学理论转向的背景,而"诗史"论、"诗乐"论在更高境界上的合一或互渗则标示了清代诗学的进路。

As a category of typical meaning in the Song Dynasty,"Poetic History" highlights the value of humanity beyond poetry, the character of narrative writing, and the layout of writing poetry with prose skills. In contrast,"Poetic Music", as a category of typical meaning in the Qing Dynasty, emphasizes some other aspects,such as different genre characteristics of poetry and prose, connections between poetry and sensory phenomena and emotional states, and poetry’s rejection of intentional intervention, so the expression of poetry does not have to be constrained by the accuracy of facts or objects. The continuation of the debate between Tang and Song poetry constitutes the background of the theoretical turn of poetics in Song & Ming Dynasties. The combination of "Poetic History" and "Poetic Music" at a higher level indicates the progress of poetics in the Qing Dynasty.