感兴在明代谢榛诗学里的发展与特色

An Analysis of the Theory of Stimulation by Association in Xie Zhen’s Poetic Discourse

迄今为止,感兴已经成为一个有着深厚历史积淀的、闪烁着中华美学理论智慧的范畴。明代复古派后七子成员谢榛的《四溟诗话》在承袭严羽诗学“尊唐抑宋”的同时,针对宋代江西诗派、明代拟古主义创作的弊端论述感兴。谢榛论述感兴时通过侧重侧重创作的偶然性来反对形式化,通过建构情景融合的境界来强调时景的重要性,通过关注诗人的主体素养凸显诗歌只是少数人的文化。谢榛的创作论观点在后人王夫之、叶燮及王国维等人的诗学理论中都能寻找到痕迹,关注他的感兴论研究对于近现代美学理论建设有较为重要的裨补意义。

As an important category of traditional poetics,the theoreticians of different eras have their own innovations in the interpretations during historical development.Xie Zhen,a poetic critic in the Ming Dynasty,expressed his interest in“Four-Seas Poetic Discourse”.While inheriting Yan Yu’s poetics of“respecting the Tang Dynasty and suppressing the Song Dynasty”,he paid special attention to the shortcomings of the creation of the Jiangxi Poetry School in the Song Dynasty and the antiquarianism in the Ming Dynasty.Xie Zhen’s discussion of stim-ulation by association emphasizes the contingency of creation,develops the sense and emotion theory and pays attention to the poet’s subjectivity.These views can be found in the poetic theories of later generations such as Wang Fuzhi,Ye Xie and Wang Guowei.It can be said that the research on Xie Zhen’s stimulation by association is of great significance to the construction of modern and contemporary aesthetic theory.