明代“格调说”与清初“神韵说”诗学渊源发覆——以王世贞、王渔洋诗论为中心

On the Poetic Origin of the Theory of Form and Melody in the Ming Dynasty and the Theory of Elegant Subtlety in the Early Qing Dynasty:Centering on the Poetics of Wang Shizhen and Wang Yuyang

在以格调、性灵、神韵为主流脉络的明清诗论史书写中,王世贞、王渔洋诗论被分别视为明代“格调说”、清代“神韵说”的代表。然而学界对王世贞“格调说”中的体格声调论关注较多,对其“格调说”中富含的“神韵见解”却鲜有论及。在探究明代“格调说”与清初“神韵说”诗学渊源时,学界多关注胡应麟、陆时雍等人诗论与王渔洋诗论间的关联,而忽略了与王渔洋诗论关联更为密切的王世贞诗论。王世贞有意识地吸收了从刘勰、钟嵘到严羽等历代诗学谱系中的“神韵”内涵,重视诗歌的自然传神与韵外之致,其“神韵见解”直接体现在他对历代诗歌“神韵”的鉴赏论以及重性情、学问、兴会的创作论中,以《艺苑卮言》为代表的王世贞诗论对王渔洋的“神韵说”产生了深刻的影响,成为上接《诗品》《沧浪诗话》《谈艺录》,下启清初“神韵说”的“桥梁和过渡”。对王世贞诗论中“神韵见解”的发掘与审视,为重新认识明代“格调说”与清初“神韵说”内在诗学渊源提供了一条新的路径。

In the poetic writings that mainly feature form and melody,inner self and elegant subtlety in the Ming and Qing Dynasties,Wang Shizhen is considered a representative figure for the theory of form and melody in the Ming Dynasty while Wang Yuyang a representative figure for the theory of elegant subtlety in the Qing Dynasty.However,the academic circle mainly focuses on the form and melody in Wang Shizhen's theory,rarely mentioning his views of elegant subtlety in his theory.While exploring the poetical origin of the theory of form and melody in the Ming Dynasty and the theory of elegant subtlety in the Qing Dynasty,the academic circle pays more attention to the connections between the poetics of Hu Yinglin and Lu Shiyong and that of Wang Yuyang,ignoring the poetics of Wang Shizhen that is more intimately related to that of Wang Yuyang.Wang Shizhen consciously absorbs the connotation of elegant subtlety from the previous poetics pedigree from Liu Xie to Zhong Rong till Yan Yu,emphasizing the natural conveyance of spirit and the external subtlety of melody in the poetry.Further,his views are directly manifested in his appreciation of elegant subtlety for the poetry of previous dynasties,along with his creation that attaches importance to temperament,learning and spontaneity.The poetics of Wang Shizhen represented by Remarks on the Arts(Yiyuan Zhiyan)has a profound influence on Wang Yuyang's theory of elegant subtlety,becoming the bridge and transition that inherits Gradings of Poetry(Shipin),Canglang Poetry Talks(Canglang Shihua)and On the Art of Poetry(Tanyi Lu)and initiates the theory of elegant subtlety in the early Qing Dynasty.The excavation and examination of the views of elegant subtlety in the poetry talks of Wang Shizhen offers a new approach to rediscovering the inherent poetic origin of the theory of form and melody in the Ming Dynasty and the theory of elegant subtlety in the early Qing Dynasty.