地域文化视野中的王鏊诗歌创作

A Study of Wang Ao’s Poetry Creation from the Perspective of Regional Culture

正如仵埂在《作家与地理的关联》中所谈到的:“任何一个作家都有自己精神成长的母地,他也许最终会飞跃千山万水,远离他的精神故乡,但他的母地对他所构成的影响,则会像影子一样伴随他,影响他。”因而对王鏊而言,吴中地域中的自然与社会人文都有着“精神故乡”的原始意义,即其诗歌创作中重复出现的意象与审美追求都是对吴中地域文化传统的言说,包括人文品格、道德操守、审美情趣、精神价值追求等诸多方面。而这种由地域精神勾连所进行的言说,大多是由于作家远离故土,将故乡的文化内涵作为一种参考与背景而出现的。王鏊在京为官三十余年,其间有四次返乡经历,从而形成了一种“返乡—离乡”的“精神故乡”勾连方式,这使得对其诗歌创作做地域文学层面的探讨具有一定的价值,从而明确“吴中”对于王鏊诗歌创作的精神文化意义。

As mentioned in The Connection between Writers and Geography:“Any writer has his own motherland of spiritual growth.He may eventually get far away from his spiritual hometown,but the influence of the mother land on him will accompany him like a shadow.”Therefore,in terms of Wang Ao,the natural and social humanities in the Central Wu region have the original meaning of“spiritual hometown”,that is,the repeated imagery and aesthetic pursuit in their poetry creation are all statements about the regional cultural traditions of Central Wu,which includes humanities,ethics,aesthetic appeal,spiritual value pursuit and many other aspects.This kind of speech made by the regional spirit is mostly due to the writer’s departure from his homeland and the cultural connotation of his hometown as a reference and background.Wang Ao has been an official in Beijing for more than 30 years.During this period,he has experienced four times of returning home,thus forming a way of“going home-away from home”,which makes his poetry creation a regional literary level.This makes it worthwhile to explore the poetry creation as a regional literary level,which clarifies the spiritual and cultural significance of“Central Wu”in Wang Ao’s poetry creation.