钱谦益论诗诗对杜甫《戏为六绝句》的承传与新变

QIAN Qian-yi’s Poems Commenting on Poetry on the Inheritance and New Changes of DU Fu’s“Six Quatrains Composed with Irony”

钱谦益所作论诗诗《姚叔祥过明发堂共论近代词人戏作绝句十六首》,在承传杜甫《戏为六绝句》的基础上又产生新变。钱氏继承了杜甫尊重前贤、别裁伪体的思想,以批评当时的诗坛流弊。钱诗延续了《戏为六绝句》“戏题”的自况心怀,但也增添了走出“嗤点前贤”的矛盾、消解讽刺的紧张等意味。钱诗与《戏为六绝句》都是以近代视野和当世视野为论述重点,但不同于杜甫对时人的包容态度,钱谦益以自己的诗学为标准,将时人划分了阵营。《戏为六绝句》论述的内容可能不仅仅限于诗歌,这种现象在钱谦益论诗诗中更是蔚为大观,他论述了文学家、批评家、书法家、画家以及女性群体,且对后世论诗诗产生重要影响。

QIAN Qian-yi’s commentary on poetry in the form of a poem,“YAO Shu-xiang over Mingfa Hall Commenting together the Sixteen Quatrains Composed with Irony by Modern Lexicographers”,is based on the inheritance of DU Fu’s“Six Quatrains Composed with Irony”,but with new changes.QIAN inherited DU Fu’s idea of respecting his predecessors and creating different pseudo-styles in order to criticize the poetic malpractice of the time.QIAN’s poem continues the self-concern of the“playful title”of“The Playful Six Absolutes”,but it also adds a sense of getting out of the contradiction of“snickering at the former sages”and dissipating the tension of satire.Both QIAN’s poem and“Six Quatrains Composed with Irony”focus on modern and contemporary perspectives,but unlike DU Fu’s accommodating attitude toward the contemporaries,QIAN Qian-yi used his own poetics as the standard and divided the contemporaries into camps.“Six Quatrains Composed with Irony”may not be limited to poetry.This phenomenon is even more evident in QIAN Qian-yi’s poems commenting on poetry,discussing literary scholars,critics,calligraphers,painters,and female’s groups,and which has had a significant impact on later commentary on poetry in the form of a poem.