由读者回归作者:“凌云”说的文学史意义

From Readership to Authorship:The Literary Significance of“Lingyun”Discourse

自司马相如献《大人赋》,汉武帝读后“飘飘有凌云之气”,“凌云”已成历史上人生际遇与文章才气的代词。考察相如献赋本事,兼括武帝耽方士之术与相如居官清冷的不遇情怀,而后世以“凌云气”或“凌云笔”拟写人生与文才,形成了该说由读者到作者、由仙气到文气的变迁。回归历史,从制度来看,相如赋之所以能惊动汉主,既与武帝好赋有关,也与当时的献赋制关联;从文人情怀来看,其中“奴颜”与“风骨”隐含着历代士大夫的无限甘苦。回归赋体,以相如赋为代表的“凌云气”与以徐寅赋为代表的“锦绣堆”,又呈现出汉大赋与唐律赋创作的不同审美,从而成就了一段文学史的佳话。

Since Sima Xiangru presented his “Ode to Greatness”, which Emperor Wu of Han admired as having “the lofty spirit of Lingyun”, “Lingyun” has become a symbol in history representing both life experiences and literary talent. Examining Sima Xiangru’s ability to compose poetry, coupled with Emperor Wu’s fascination with the arts of Daoist scholars and Sima Xiangru’s frustrations in his official career, the concept of “Lingyun spirit” or “Lingyun style” emerged in later generations to describe both life and literary talent, marking a transition from the reader’s perspective to the author’s. Returning to history, from an institutional perspective, the impression of Sima Xiangru’s ode in the Han emperor was not only due to Emperor Wu’s appreciation of poetry but also linked to the system of presenting odes at that time. From the emotional perspective of literati, the notions of “servile demeanor” and “unyielding spirit” implied the endless joys and sorrows of literati throughout the ages. Returning to the realm of poetry, the “Lingyun spirit” represented by Sima Xiangru’s ode and the “exquisite elegance” represented by Xu Yin’s ode showcase different aesthetic values in the creation of Han dynasty odes and Tang dynasty regulated poems, thus contributing to a fascinating chapter in literary history.