前后七子反阐释诗学研究

Study on the Anti-Interpretation Poetics of theDouble-7 Critics of Ming Dynasty

明代诗歌创作缺乏新意,但明代诗歌阐释却与此不同,它远承南宋末兴起的阐释方法而来,变革了传统的“尚意”阐释学。就前后七子而言,他们在诗歌阐释方面既继承了传统诗歌阐释对“比兴”的重视,同时又延续和变革了严羽“水月镜花”阐释对传统诗歌文本和语言的有意忽略,具有了反阐释倾向。“尚意”阐释学的消退和在阐释过程中对“情”的重视,表明南宋末以来诗歌阐释的反阐释性得到了深化,由此也可以看出前后七子更加看重诗歌气象圆融和情感一以贯之的直观感悟和把握。

There was little innovation in poetry creation in Ming dynasty,but poetry criticism in that era,deriving from the interpretation method that prevailed at the end of the Southern Song Dynasty,was different,reversing the traditional hermeneutics approach of“meaning-focus”.Theinterpretation of poetry of the Double-7 Critics was somewhat anti-interpretational,who not only inherited the traditional poetry interpretation’s emphasis on“bixing”,but also inherited and reformed Yan Yu’s“illusionary”(moon in water and flower in the mirror)approach,which deliberately ignoredthe text and language of traditional poetry.The decline of“meaning-focus”hermeneutics and the emphasis on“emotion”in the process of interpretation indicates that the anti-interpretation of poetry interpretation became widely accepted since the end of the Southern Song Dynasty.From this,it can be found that the Double-7 Critics paid more attention to the harmony of poetry atmosphere and the intuitive perception and grasp of the emotion consistent in poetry.