游戏得三昧:梅尧臣诗歌的创作心态与审美意韵

Playing Samadhi: The Creation Mentality and Aesthetic Implication of Mei Yaochen's Poetry

梅尧臣作为北宋诗歌转关之捩,在诗歌创作理路方面贡献颇丰,游戏文字便是其中一途。梅尧臣执游戏之笔,将诗歌创作拉向现实人生,在以游兴、小景、诗战、“俗”物等为描写对象的诗作中“娱心”“娱己”“娱人”,探究艺术锤炼之方,创变诗歌创作之法,并于其中寄托自己“写人生”和“尚理”“尚议”的诗学理想,流露出“冲和”“怪巧”的审美意韵,启发了以诗歌议论说理的宋诗发展道路。然梅诗以诗为戏之创作有得亦有失,宏大气象弱化、理趣化严重、诗歌创作流于形式等不足之处也需得到正视。

As the founder of Song poetry,Mei Yaochen contributed a lot in the way of poetic creation,and game characters is one of the ways.Mei Yaochen took the pen of play and drew his poetry creation to the real life.He explored the ways of artistic exercise,created the method of poetry creation,and expressed his poetic ideal of"writing life","still reason"and"still discussion"in the poems which described the objects of amusement,small scenery,poetic battles,and"vulgar"things.Revealing the aesthetic meaning of"Chonghe"and"Guaiqiao",it inspired the development of Song poetry by discussing the reason of poetry.However,Mei Yaochen's creation of poetry as a play has both gains and losses,and the deficiencies such as the weakening of the grand atmosphere,the serious rationalization of interest,and the mere formality of poetry creation should also be addressed.