“味”与中国传统诗歌批评

“Wei(Taste)”and Traditional Chinese Poetry Criticism

不同于西方美学中对味觉的轻视,“味”是中国文学批评,尤其是诗歌批评中的一个重要概念,这与中国文化的性质有关一“味”在中国文化中本就有着特殊的地位。以儒家为主体的中国文化有较强的在世性,根据丰富的饮食文化,发展出“滋味”“和味”“大羹不和”“大羹无味”或“遗味”的思想。春秋战国时期,已有借“味”论政和借“味”论乐的传统。当南朝文学批评兴盛之后,自然就接续并扩展了传统,以“味”论诗了。在诗学中,作为动词的“味”代表着玩赏(审美)的态度,作为名词的“味”则对应着不同的诗歌理想(审美要求)。至宋代,诗学上的“味”论已充分展开,余蕴尽出了。

The sense of taste is neglected in Western aesthetics,while"wei(taste)"is an important concept in Chinese literary criticism,especially in poetry criticism,for it already owns a special place in Chinese culture.In poetics,"wei"as a verb represents the attitude of appreciation(aesthetics);wei as a noun corresponds to different poetic ideals.By the Song Dynasty,theory of"wei"had been thoroughly developed,and all of its implications were disclosed.