玄学视域下的中晚唐五代“苦吟”与诗学发覆

“Laborious Versifying” and Poetic Works from the Perspective of Metaphysics since the Mid- and Late Tang Dynasty

中晚唐五代的“苦吟”之风有着深刻的哲学根基和美学意蕴,以“诗人”“作者”自居的苦吟诗人将诗上升到幽远玄微的“诗道”层面。玄学的审美和超越意蕴也被一寓于诗,诗成为这一畸零群体安顿灵魂的不二之途。就方法论而言,魏晋玄学“言意之辨”得以朝两个维度展开:一、由“言不尽意”衍生出对玄微之理和“象外之象”的追求;二、由“言尽意”发展为“苦吟”,并集中体现为诗格中的“磨炼”理论。就构思方式而言,苦吟派的冥搜也蕴含着对天机与兴会的重视。

The poetics of “laborious versifying” was an important practice in the development of literary theory from the mid-and late Tang to the Five dynasties under the influence of metaphysics from the Wei and Jin dynasties. With the construction of metaphysical literary theory as a direct starting point, the laborious poets considered themselves as “authors” and promoted poetry to a noumenal level. Poetry became the only way for this abnormal group to settle their souls. Methodologically, the “discrimination of words and meanings” extended to two dimensions. First, “words cannot exhaust meaning” was developed into a series of aesthetic topics, such as “implicit truth” and “abstract image”. Second, “words exhaust meaning” was transformed into laborious versifying and the “polishing” theory. In terms of their conception, the laborious poets also emphasized sudden flash of inspirations.