钱钟书论神韵

QIAN ZHONGSHU'S DISCUSSION ON THE THEORY OF SPIRIT AND TONE

"神韵"说是中国传统文艺理论中一个极其重要而又独特的理论体系。从《旧文四篇》到《谈艺录》再到《管锥编》,钱钟书一直没有停止过对这一问题的探讨。他一方面以现象学还原的方法,追本溯源,对"神韵"说的发展流变进行梳理和辨析;另一方面,为寻求共同的诗心文心,他又打通学科、时间、地域等的界限,化胡越为肝胆,从而使本身极具含混色彩的"神韵"说更为清晰的凸现出来。在寻求传统文论现代化转型和中西诗学对话的今天,钱钟书的辨析之心及其治学方法无疑给我们带来诸多启发。

The Theory of Spirit and Tone is a very important and unique system of theories in the theory of traditional literature in China. Qian Zhongshu never stopped discussing this question from'Jiu Wen Si Pian'to'Tan Yi lu'and 'Guan Zhui Bian'. On one hand, he got at the root of the matter to not only sort out but also differentiate and analyse the development and change of the Theory of Spirit and Tone through the way of restoration of Phenomenon Discipline. On the other hand, he broke through the bounds of subject, time and region so as to change the long distance into very short distance. Thus, the Theory of Spirit and Tone with the very ambiguous flavour itself was made very clear and distinct. In the period when we are searching for the transformation of modernization from traditional literary theory and the exchange between Chinese and Western literary theory, the heart of differentiation and analysis and the ways of scholarship that Qian Zhongshu has will greatly inspire us undoubtedly.