“格调说”的调适演绎——以赵宧光著述为中心

The Adaptation and Interpretation of the“Gediao(Style and Tone)Theory”:A Case Study of Zhao Yiguang’s Writings

“格调说”是明代诗学的理论内核之一,它的形成、发展贯穿了明代诗学进程的始终。晚明苏州文人赵宧光在其著述中,主张以声调释格调,开辟出一条恢复诗歌音乐美的“格调说”阐释路径。他将“格调说”运用到书法品评当中,采取以诗喻书的方法,第一次系统论述了书学“格调说”的内涵。通过援书法拟格成调之思反哺复古诗学,赵宧光重新平衡了“格调说”内部的意义结构,使得日趋临摹泥古的“格调说”在晚明重新焕发出生机。赵宧光融通诗学与书学的新“格调说”,既与他兼具诗学批评家、音韵学家、书法家等多重身份密不可分,又根基于晚明至清代文艺思潮由复古走向通变的迁转,从而使其对“格调说”的调适演绎独树一帜。

The“gediao theory”is one of the core principles of Ming-dynasty poetics,and its formation and development have run through the entire process of Ming-dynasty poetics.Zhao Yiguang,a Suzhou literatus of the late Ming dynasty,advocated the use of tone to interpret gediao and opened up a path for restoring the musical beauty of poetry.He applied the theory of gediao to calligraphy criticism,adopted the method of using poetry as a metaphor for calligraphy,and for the first time systematically discussed the connotation of the“gediao theory”in calligraphy studies.By using calligraphy to imitate the tones and restore ancient poetics,Zhao Yiguang reestablished the balanced semantic structure of the“gediao theory”and revitalized the increasingly imitative“gediao theory”in the late Ming dynasty.Zhao Yiguang’s integration of poetry and calligraphy in the new“gediao theory”was inseparable from his multiple identities as a poetic critic,phonologist,and calligrapher.It is also based on the transition of late Ming to Qing dynasty literary trends from revivalism to innovation,making his adaptation and interpretation of“gediao theory”unique and distinctive.