钱锺书美学思想的去黑格尔化

Qian Zhongshu's Sublation of Hegel's Aesthetics

尽管黑格尔美学对钱锺书影响甚深,钱锺书却能入其内而出其外,立足中国诗学本位去黑格尔化。区别于朱光潜“美是理念的感性显现”的美学定义翻译,钱锺书将其译作“以形而下象示形而上”,探讨了中国诗学自然书写的“拟物”“寓物”特征;钱锺书借用黑格尔悲剧原理界定了中国文化中的家国伦理冲突,指出中国诗学“忠孝不能两全”的悲剧特征;钱锺书更扬弃了黑格尔关于艺术之真与现实之真的思辨美学命题,开掘出中国诗学独有的情感审美取向。在对黑格尔美学的扬弃过程中,钱锺书发掘出中德美学的同中之异,开拓、丰富了中国诗学的多重命题。

Although Hegel's aesthetics exerted a profound influence on Zhongshu,he finally surpassed the former.Qian Zhongshu explored the natural characters of“zoosemy”and“to express emotions at the sight of some particular scenes or objects”in Chinese poetics,and translated the aesthetic definition as that“using the way of physics to show its metaphysics”,which was different from Zhu Guangqian's thought-“aesthetic is the sensuous manifestation of the idea”.Qian Zhongshu used the theory of Hegel's tragedy to define the ethical conflict in Chinese poetics and found the tragic feature of“loyalty and filial piety cannot achieve simultaneously”in Chinese poetics.During this process,Qian Zhongshu developed and discarded Hegel's speculative aesthetic propositions about the truth of art and the truth of reality.He also found the unique emotional aesthetic orientation of Chinese poetics and explored the similarities and differences between Chinese and German aesthetics,thus enriching the multiple propositions of Chinese poetics.