文本、历史与精神特质:论《诗大序》“缘情说”的必然性

Text,History,and Spiritual Characteristics:The Inevitability of the Poetry Expresses Emotions in The Great Preface of the Book of Songs

单纯从“缘情”与“言志”两个维度看待《诗大序》,属于后世的理论视角,难以接近其真正内涵,故要以先秦儒家礼乐文化及文本为根据,依赖内在精神与历史背景的流变,参照现有“情”“志”理论框架,发掘《诗大序》的“诗”学特质。《诗大序》继承了夏商周三代以来的“诗”教传统,以阐发普遍原则为主流,但《礼记》等礼乐文本的记载表明先秦礼乐学说以自然情感为理论基础,是为个体原则的萌芽。追溯至历史深处,西周的礼乐依附于天命、习俗规范等外在力量,而春秋时期孔子以“仁”重新释礼,将个体心理原则作为礼乐的依据,实现了从他律到自律的转换,故“缘情”成为礼乐文化与“诗”学未来的必然方向。

That it solely views The Great Preface of the Book of Songs from the two dimensions,“expressing emotions”and“expressing intent”,belongs to the theoretical perspective of later generations,making it difficult to approach its true connotation.Therefore,we must rely on the cultural and textual basis of Confucian ritual and music in the pre-Qin period,depend on the evolution of the internal spirit and historical background,and refer to the existing theoretical framework of“emotion”and“intent”to explore the poetic characteristics of The Great Preface of the Book of Songs.This book inherits the traditional teaching of“poetry”since the three dynasties,with the elucidation of universal principles as the mainstream.However,the records in The Book of Rites and other rite texts indicate that the pre-Qin theory of ritual and music is based on natural emotions,marking the germination of individual principles.Tracing back to the depths of history,the ritual and music of the Western Zhou Dynasty were dependent on external forces such as fate and customary norms,while Confucius reinterpreted ritual with“benevolence”in the Spring and Autumn Period,basing it on individual psychological principles and achieving a transition from heteronomy to autonomy.Therefore,“expressing emotions”has become the inevitable direction for the future of ritual and music culture and of poetic studies.