再回声音现场:明清“格调说”的“声义”建构

Returning to the Acoustic Scene:The Sound-meaning Construction of the Ming and Qing Dynasties’Ge-diao Theory

以“声”论诗是明清的诗学热点。在声义与辞义离合博弈中,我们可以看到以声辨体、以声论诗、无声不成诗等言论,以及反对以义学蔽声教、以义夺声等主张。近现代以来对“格调说”的研究多从其与“神韵”“性灵”“肌理”的关系出发,或从形式与内容二元对立层面展开。这些研究比较多地强调格调的辞义而忽视声义,特别是对声音的在场性关注不够。明代赵宧光提出“诗以声为命”“以声为体”的“声教”理念,进一步发展了宋代郑樵“诗以声为用”的观点,清代沈德潜接续明代七子派“格调”观,在阐发“以声求义”时突出“格调”的“温柔敦厚”诗教思想,强调控制声音以达到国家治理的诗学意图,此二种观念极大地促进了诗学中的“声学转向”。

“The sound of poetry”is a hot spot of poetics in the Ming and Qing dynasties.In the competition between sound-meaning and rhetoric-meaning,we can see such remarks as identifying the style by sound,discussing poetry by sound,and no poetry without sound,as well as opposing the idea of meaning over sound or meaning against sound.Since modern times,the study of“ge-diao(metrics)”has mostly started from the relationship with“shen-yun(charm)”,“xing-ling(spirit)”and“ji-li(texture)”,or from the dichotomy of form and content.or from the dichotomy between form and content.These studies emphasize more on the rhetorical meaning of style and ignore the sound meaning,especially lack the attention on the presence of the sound.In the Ming Dynasty,Zhao Yiguang put forward the concept of“sound education”,which means“vitalizing poetry with sound”and that“sound is style”,further developed the viewpoint of Zheng Qiao in the Song Dynasty,who said that“poetry functions by sound”.Shen Deqian of the Qing Dynasty succeeded the“ge-diao”concept of Qi-zi School in the Ming Dynasty,and highlighted the gentle and“ge-diao”in his exposition of“seeking meaning from sound”.The two concepts greatly contributed to the“acoustic turn”in poetics,emphasizing the poetic intention of controlling sound to achieve national governance.