论《文心雕龙》艺术和谐观的实现方式及其对儒经的依立

Approaches to Realizing Artistic Harmony as a Key Concept in The Literary Mind and theCarving of Dragons and its Dependence on Confucian Classics

《文心雕龙》艺术和谐观可用“弥纶一篇,杂而不越”一语来概括,主要表现在两方面:一、《镕裁》《章句》《附会》等篇体现出的篇章整体和谐理论;二、《声律》篇论述的声律和谐理论。篇章整体和谐有六种实现方式:“改韵从调,节文辞气”“字句章篇,交相为用”“规范本体,剪截浮词”“首尾周密,表里一体”“弃偏善之巧,学具美之绩”“献可替否,以裁阙中”。声律和谐理论以“和”来标示“调律”的目的,并对声律和谐提出了一些原则性要求,但其实现方式并不具体细致。《文心》的艺术和谐观是对《周易》《左传》《礼记》等儒家经典“中”“和”“中和”“中庸”“时中”等思想观念的依立。

The concept of artistic harmony in The Literary Mind and the Carving of Dragons can be summarized as“integrate fragments into a whole and realize integrity from single pieces”,which finds expression in two aspects:first,the chapters like“Proper Styles”,“Chapters and Sentences”and“Textual Integrity”embody the theory of harmony for the whole text;second,the theory of harmonious rhythm finds expression in the chapter“Rhetorical Devices”.There are six ways of realizing textual integrity at the lexical,grammatical,syntactical,rhetorical,stylistic and textual levels.The chapter of“Rhetorical Devices”advocates harmony in rhythm by proposing some principles though there are no specific details for their application.The concept of artistic harmony in The Literary Mind and the Carving of Dragons is in accord with the concepts of the Middle Course,Centralization,Suitability and Harmony in such Confucian classic as Book of Changes,Tso Chuan:Selections from China s Oldest Narrative History and Book of Rites.