对胡应麟宋诗观的再认识

The Re-understanding of Hu Yinglin’s Theory on Song Poetry

明代诗坛的发展、变化,可以说是环绕着对宋诗的讨论而展开的。嘉靖至万历年间,雄踞诗坛的复古诗派抛出"宋无诗”的说法,对宋诗作出了全盘否定。在这个理论氛围下,胡应麟对历代诗歌的发生、发展、体裁、风格等方面作了广泛的研究,认为在诗歌的发展中,“体裁”是有限的,至唐已大备;"风格”则是无限的,并非完备于唐。在对诗歌“风格”的鉴识中,他推崇盛唐,欣赏盛唐,甚至以盛唐诗歌的风格为标准衡量、要求各个时期的诗歌,并认为宋诗往往缺失了唐诗风格,因而接受“宋无诗”的说法,但其结论仅是相对于盛唐风格而言。然而,他在对宋诗研究当中,则又发现宋诗虽有缺失唐诗风格的现象,但亦有不少具有独特的、超越前人而又可足欣赏的风格,并且给予这类作品热情的肯定。胡应麟在回应其时诗坛对宋诗的讨论中,牢牢抓住“风格”这个关键,正确处理了其时诗坛上的论争。他从唐人"风格”上看宋诗的“有”与“无”;又从独特的"风格”上欣赏着宋诗的创新,表现出了独立于时人的卓见。

The development and change of the poetry of the Ming Dynasty can be said to be carried out around the discussion of Song poetry. During the Jiajing—Wanli period, the Neo—classical School threw out the saying “There' s no poetry in Song Dynasty" and made a total negation of Song poetry. In this theoretical atmosphere, Hu Yinglin has made extensive research on the occurrence, development, genre and style of poetry in the past. He believes that in the development of poetry, the “genre” is finite, and it has been mature in the Tang Dynasty, while "style' is infinite, not mature in Tang. In his forensic of poetry "style" , he admired the creation in High Tang, and even measured the poetry of each period based on the style of the poems of the High Tang. He also believed that Song poetry often lacked the style of Tang poetry and accepted the saying of "there' s no poetry in Song Dynasty” . This conclusion is only relative to the style of the Tang Dynasty. However, in his study of Song poetry, he found that although Song poetry lacks the style of High Tang, there are also unique styles that transcend the predecessors1 and give them a high recognition. In response to his poetry discussion on Song poetry, Hu Yinglin firmly grasped the key of "style "and correctly handled the controversy in his poetry. He looked at the "being" and "none"of Song poetry from the "style" of the Tang Dynasty;he also appreciated the innovation of Song poetry from the "style" and showed his independence from the time.