“韵”的诗学——顾随《驼庵诗话》诗歌美学体系初探

The Rhyme in Poetics: On the Poetics Aesthetics System in Tuo’an’s Notes on Classical Poetry by GU Sui

驼庵论诗,以"韵"为本。驼庵之"韵"是"世法"与"诗法"的统一;"诗法"是指语言艺术的规律,而"世法"不离"世"亦不离"法"。驼庵以诗之"不可说"演绎"韵"之玄妙感,借玄妙感揭示诗之矛盾性。既然"韵"是将不同的甚至是矛盾的因素加以调和而形成的,那么它必然就是一种创造。驼庵之矛盾创造论诗学是其真正高出古典诗学的部分。驼庵以夷犹与锤炼为"韵"的典型风格,并提出无论何种风格,都应该追求最高的境界,即其在《稼轩词说》和《东坡词说》中说的"高致"。关于诗之创作,驼庵喜言"力"字。"力"是心物转化、运动的内在动因,也是诗歌创造中动静变化的原因。"力"之能不绝地生发而不厌倦,根本的乃是其中有"趣","趣"生"力","力"完成诗之"趣"。在驼庵"韵"的诗学体系中,诗的生成即韵的生成,诗的阅读与接受即为韵的识别与体验。由此,他提出了统一为"见"的"体认""体会""体验"三种阅读功夫,认为作者不能使人见是作者之责,写的能见而读者不能见是读者对不起作者,读者面对作者既不可辜负亦不可盲从。

Tuo’an regarded the rhyme as the essence of poetry. This paper revealed it from studying Tuo’an’s Notes on Classical Poetry,and discussed poetry aesthetic characteristics,aesthetic styles and the highest realm,the power of poetic creation,reception ideas of poetry,and all of those that produced by rhyme. Thorough studies and analysis,the system of poetics in Tuo’an’s Notes on Classical Poetry was first outlined.