《水调歌头·黄州快哉亭赠张偓佺》一词中的“老翁形象”——兼谈苏轼的“天籁观”

The Image of the White-headed Man in Prelude to Water Melody·Presented to Zhang Woquan at Huangzhou Kuai Zaiting Pavillion——Also on Su Shi’s "View of Nature"

《水调歌头·黄州快哉亭赠张偓佺》一词中上阕对欧阳修的描述隐含着对“醉翁”的赞赏,有助于理解“白头翁”这一艺术形象。宋玉所说的“大王之雄风”与“庶人之雌风”,其实继承了庄子对风进行分类的描写手法。宋玉以主观感受区分了客观事物,强调了“物不齐”的极端状态。而苏轼在否定宋玉看法的同时,提出了自己的“天籁观”。苏轼把认识的焦点从“风”拉回到了“人”身上,指出人胸中有“浩然之气”,处在体道的精神愉悦之中,便能不为外物所累,顺物自然,实现“逍遥”的境界。由此可知,与之相对的,处于这种境界之时,主体所发之声,便是“天籁”之音。

The description of Ouyang Xiu in Prelude to Water Melody·Presented to Zhang Woquan at Huangzhou Kuai Zaiting Pavillion implies Su Shi's appreciation of"drunk man"and helps to understand the artistic image of"white-headed man".Song Yu's"heroic style of the king"and"feminine style of the common people"inherited Zhuangzi's description of wind classification.Song Yu distinguished objective things from subjective feelings and emphasized the extreme state of"inequality things".While negating Song Yu's view,Su Shi put forward his own view of nature.Su Shi drew the focus from"wind"to"human",pointing out that there is"the Great Spirit"in human's chest,and that in the spiritual pleasure of morality,people will not be bound by external things so that they can feel the state of"free and unfettered".In such a state,the voice of the subject is the sounds of nature.