“真诗”之概念建构与明清之际的文学生发观

Conceptual Construction of “True Poetry” and the Perspective onLiterary Emergence between the Ming and Qing Dynasties

明末清初,诗源于天、诗源于人这两个命题在“真诗”概念的范畴之内被糅合于一体。人们围绕“真诗”建构了诸多诗学命题,申明了“真”“真诗”与应感、神思的区别:应感、神思的发出者是诗人,着眼于诗之源起;“真”“真诗”指向着“诗-诗人”的同构体,笼括了诗之未生、将生、既生、已生的全过程。这些诗学命题还呈现了“真”与自然之间的根本差异:“真”指向着诗之空无虚静的状态,指向着诗的本质规定性;人们谈到诗之“自然”时,则着意于作品表达、呈现出来的效果。明清之际,“真”与诗之生发这个诗学问题整合于一体,“真”在指称对象、意义结构、价值功能等层面上完成了转型与转换,成为诗学统序中的核心概念。

At the turn of the Ming and Qing dynasties,the propositions that poetry originates from nature and from humans were amalgamated within the concept of“true poetry”.Numerous poetic propositions were constructed around“true poetry”,clarifying the distinction between“true”“true poetry”and the concepts of resonance and divine inspiration:resonance and divine inspiration originate from the poet,focusing on the source of poetry;“true”and“true poetry”refer to the isomorphic entity of“poetry-poet”,encompassing the entire process of poetry’s non-existence,imminent existence,current existence,and past existence.These poetic propositions also revealed the fundamental difference between“true”and nature:“true”points to the state of poetry’s emptiness and tranquility,indicating the essential determinacy of poetry;when discussing the“naturalness”of poetry,the focus is on the effects expressed and presented by the work.Between the Ming and Qing dynasties,the poetic issue of“true”and the emergence of poetry were integrated,with“true”undergoing a transformation and transition in terms of its referential objects,structural meanings,and functional values,becoming a core concept within the poetic order.