从经学到诗学:太宰春台明诗复古批评探析

From Confucianism To Poetics:An Analysis on Dazai Shundai’s Retro Critique of Ming Poetry

太宰春台是日本徂徕学派经学派的代表人物,著《诗论》以主张诗学复古。其诗论对于明诗复古的批评内涵丰富:一方面,从复古主义诗史观的角度盛赞明七子之诗歌复古为“风雅之后,斯之为盛”;另一方面,又基于创作论的批评视角,批判明诗复古之“务多产”的创作心理与“摭唐人成语,辍缉成章”的拟古手法。太宰春台的明诗复古批评蕴含浓厚的经学色彩,同时体现出崇尚自然的诗学审美思想,“尚自然”的诗歌批评观成为其批判明诗复古之失真的依据。其明诗复古批评观典型地展现了对古文辞学的逡巡,为反观明诗复古之价值提供了一双异域之眼。

Dazai Shundai,a representative figure of Japan’s Sorai School,advocated a revival of poetics in his work Shiron.His critique of the retrospective style in Ming poetry is rich and multifaceted.On the one hand,from the perspective of the revivalist poetic history,he praised the Ming Seven Masters’return to tradition as“Following the legacy of The Book of Songs,it flourishes in grandeur”.On the other hand,from a creative standpoint,he criticizes the mindset of“pursuing quantity”and the imitative techniques of“plucking Tang phrases”.Dazai Shundai’s retro critique of Ming poetry reflects a strong influence of Confucian classics while also embodying an aesthetic ideal that values naturalness in poetry.His call for“reverence for nature”serves as the basis for his criticism of the inauthenticity in Ming poetry’s revival.His perspective vividly reflect his engagement with the study of ancient Chinese literature,offering a unique lens through which to reassess the value of revivalism in Ming poetry.