王夫之论诗之情的三个维度

The Three Dimensions of Wang Fuzhi's Feelings about Poetry

关于“诗之情”,王夫之从“表现主体、表现对象、表现手段”三个维度,将“道性之情”作为表现主体,将“写景之情”作为表现对象,将“以声情生色”作为表现手段,并对诗的“性之情”“景之情”与“声情”展开详细论述。王夫之主张,在“道性之情”时,诗人应以情为道路,进而“泳游以体情”,以便获得丰富的情感体验;在“写景之情”时,诗人应以“现量”之法,让景与情互相生成、互相包含,使其臻达“情景妙合无垠”之至境;在“以声情生色”时,不宜先以议论入诗,而应“长言咏叹”以写情,以雅致谐韵而见情,从而营造“明朗疏淡”之妙境。

From the three dimensions of"subject,object and means of expression",Wang Fuzhi expounds that the poem takes"the feeling of Tao nature"as the subject of expression,takes"the feeling of landscape painting"as the object of expression,and takes"the sound and the feeling and the color"as the means of expression,thus becoming the epitome of"the feeling of poetry"in the early Qing Dynasty.In"the feeling of Tao nature",the poet not only takes the feeling as the road,but also"swims with the body feeling",so as to obtain rich emotional experience;in"the feeling of scenery writing",he uses the method of"present quantity"to make the scene and the feeling generate and contain each other,so as to reach the ultimate situation of"the scene is wonderful and fits the infinity";in"the color of sound and feeling",it is not suitable to enter the poem with discussion first,but should"chant with long words"instead In order to create the beauty of"clear and sparse",we should write love with elegant and harmonious rhyme.