王夫之诗论中的“两镜取影”说

The Theory of “Taking Shadow From Two Mirrors” in Wang Fuzhi's Poetry

王夫之诗论中有"取影""两镜取影"说,对于前者,研究者多从审美想象角度给予阐释,而对后者尚无辨析。所谓"两镜取影"与其诗论中另一语词——"两镜相入"表述相近,应当都是受到华严宗"若两镜互照,传耀相写"之说的启发,与"取影"是同样的概念,都强调主体与客体、"宾"与"主"相因相依、彼此互现。"两镜"可以解释为"天"之镜与"人"之镜,在王夫之看来,最好的诗歌就产生在天人相感的刹那,前者照彻大自然的无边光影,后者照彻人心的"窅窅摇摇",这样诗歌就能做到无微不至、穷形尽相,即所谓"通天尽人""曲尽人情之极至"。

In Wang Fuzhi’s theory of poetry,there were'Taking Shadow'and'Taking Shadow From Two Mirrors'. For the former,researchers mostly explained it from the perspective of aesthetic imagination,but there was no analysis on the latter. The saying so-called'Taking Shadow From Two Mirrors'was similar to the other expression of'Two Mirror Embedding'in the theory of Wang Fuzhi’s poetry. Both of them should be inspired by the saying of'If two mirror were mutual illumination,they had blazed infinitely'which had the same meaning of'Taking Shadow'. They emphasized mutual dependence of the subject and object.'Two Mirrors'could be interpreted as a mirror of the sky and of a man. In Wang’s opinion, the best poetry arose from the instant interaction between heaven and man. The former could shone the boundless light and shadow of nature,and the latter could illuminate all aspects of the human heart. In this way,poetry could be meticulous and had the vivid description. In other words,that was'The Induction of the World with the Human Heart','The Extreme of Human Feelings'.