《文选颜鲍谢诗评》与方回的六朝诗学观
|
摘要
方回《文选颜鲍谢诗评》成书于其晚年,集中体现了他对六朝诗的看法。在选评诸家诗作时,方回乃悬置"建安体法"与"建安风味"为高标。建安诗以"散义胜偶句,叙情胜述景"的体法所形成的"气韵高古,而音节华畅""驰骋痛快"的诗歌风貌,为颜鲍谢诸家所不及。由是,谢灵运之"艳过于工"、颜延之之"雕缋满眼"、谢朓之"太工太巧",均在被批评之列。方回对颜鲍谢诸人不是一味否定,也激赏其自然天成、富于意趣的作品;赞许他们对唐宋人创作的积极影响,进而从江西诗法的角度梳理诸人作品在章法、句法和字法上的特色,肯定诸家在诗运转关之际所作出的种种成就。这也显现了方回企图矫正江湖、四灵诗派颓俗卑弱的诗风,从而重振江西诗派旗帜的目的。方回还在其他著述中表现出了对陶渊明的偏爱,与此书一道共同构建了其六朝诗学观。
A Review of Yan's,Bao's and the Xies ' Poetry was written in Fang Hui 's old age,which contains his views on the literature of the Six Dynasties. In his review,Fang Hui adopted the Jian'an Style and Jian'an Flavor as the criteria. Jian'an poetry excelled in the poetic style featuring the classic style of qiyun( aura) and wild abandon with strong and vigorous emotions,which were derived from the conviction that verses written in simple style are better than parallel sentences. Besides,writers preferred expressing emotions than depicting scenery. In these aspects,Yan 's,Bao 's and the Xies ' poetry were not as good as Jian 'an poetry. So Fang Hui criticized Yan's,Bao's and the Xies' poetry for gorgeous words and sedulously pursuing exquisiteness. Fang Hui did not simply pay attention on their shortcomings,but thought highly of those verses characterized by natural style and rich and interesting words. He also praised their influences on writings of the Tang and Song dynasties,and then analyzed their poetic features including structure,order,syntax and diction from the Jiangxi Poetry School 's perspective. Meanwhile,Fang Hui affirmed their contribution to the reform of poetry,which meant that he wanted to change the decadent and vulgar poetic style of the Jiangxi Poetry School and the Siling Poetry School in order to revitalize the aesthetic ideal of the Jiangxi Poetry School.Besides,Fang Hui expressed his admiration of Tao Yuanming,which was also one of the important parts of his views on the poetics of the Six Dynasties.
A Review of Yan's,Bao's and the Xies ' Poetry was written in Fang Hui 's old age,which contains his views on the literature of the Six Dynasties. In his review,Fang Hui adopted the Jian'an Style and Jian'an Flavor as the criteria. Jian'an poetry excelled in the poetic style featuring the classic style of qiyun( aura) and wild abandon with strong and vigorous emotions,which were derived from the conviction that verses written in simple style are better than parallel sentences. Besides,writers preferred expressing emotions than depicting scenery. In these aspects,Yan 's,Bao 's and the Xies ' poetry were not as good as Jian 'an poetry. So Fang Hui criticized Yan's,Bao's and the Xies' poetry for gorgeous words and sedulously pursuing exquisiteness. Fang Hui did not simply pay attention on their shortcomings,but thought highly of those verses characterized by natural style and rich and interesting words. He also praised their influences on writings of the Tang and Song dynasties,and then analyzed their poetic features including structure,order,syntax and diction from the Jiangxi Poetry School 's perspective. Meanwhile,Fang Hui affirmed their contribution to the reform of poetry,which meant that he wanted to change the decadent and vulgar poetic style of the Jiangxi Poetry School and the Siling Poetry School in order to revitalize the aesthetic ideal of the Jiangxi Poetry School.Besides,Fang Hui expressed his admiration of Tao Yuanming,which was also one of the important parts of his views on the poetics of the Six Dynasties.
引文
陈祚明:《采菽堂古诗选》。上海:上海古籍出版社,2008年。[Chen,Zuoming.Cai Shu Tang Poetry Anthology.Shanghai:Shanghai Ancient Books Publishing House,2008.]
丁福保:《历代诗话续编》。北京:中华书局,1983年。[Ding,Fubao.The Sequel to Poetry Commentaries across Dynasties.Beijing:Zhonghua Book Company,1983.]
方东树:《昭昧詹言》。北京:人民文学出版社,1961年。[Fang,Dongshu.Zhao Mei Zhan Yan.Beijing:People's Literature Publishing House,1961.]
方回:《桐江集》,《续修四库全书》集部1322册。上海:上海古籍出版社,2002年。[Fang,Hui.Collected Works of Tongjiang.The Sequel to Complete Library in the Four Treasuries of Literature Collections.Vol.1322.Shanghai:Shanghai Ancient Books Publishing House,2002.]
---:“文选颜鲍谢诗评”,《瀛奎律髓汇评》,李庆甲汇评。上海:上海古籍出版社,2005年。[---.“A Review of Yan's,Bao's and the Xies'Poetry.”Fundamentals in Prosody(Ying Kui LüSui).Ed.Li Qingjia.Shanghai:Shanghai Ancient Books Publishing House,2005.]
顾易生蒋凡刘明今:《宋金元文学批评史》。上海:上海古籍出版社,1996年。[Gu,Yisheng,Jiang Fan,and Liu Mingjin.A History of Literary Criticism of the Song,Jin and Yuan Dynasties.Shanghai:Shanghai Ancient Books Publishing House,1996.]
何汶:《竹庄诗话》。北京:中华书局,1984年。[He,Wen.The Bamboo Manor Poetry Commentaries.Beijing:Zhonghua Book Company,1984.]
洪迈:《容斋随笔》。上海:上海古籍出版社,1978年。[Hong,Mai.Rong Zhai Informal Essay.Shanghai:Shanghai Ancient Books Publishing House,1978.]
胡仔:《苕溪渔隐丛话》。北京:人民文学出版社,1962年。[Hu,Zai.Series of Poetic Notes Taken by the Recluse of the Brook Tiao.Beijing:People's Literature Publishing House,1962.]
刘勰:《文心雕龙义证》,詹锳义证。上海:上海古籍出版社,1989年。[Liu,Xie.The Literary Mind and the Carving of Dragons.Ed.Zhan Ying.Shanghai:Shanghai Ancient Books Publishing House,1989.]
李延寿:《南史》。北京:中华书局,1975年。[Li,Yanshou.The History of Southern Dynasties.Beijing:Zhonghua Book Company,1975.]
毛飞明:《方回年谱与诗选》。杭州:杭州大学出版社,1993年。[Mao,Feiming.Fang Hui's Chronology and Collection of Poems.Hangzhou:Hangzhou University Publishing House,1993.]
沈德潜:《说诗晬语》。北京:人民文学出版社,1979年。[Shen,Deqian.Shuo Shi Zui Yu.Beijing:People's Literature Publishing House,1979.]
永镕等:《四库全书总目》。北京:中华书局,1965年。[Yong,Rong,et al..A General Catalogue to the Complete Libraryin the Four Treasuries of Literature.Beijing:Zhonghua Book Company,1965.]
钟嵘:《诗品集注》,曹旭集注。上海:上海古籍出版社,2011年。[Zhong,Rong.Collected Annotation to Shi Pin.Ed.Cao Xu.Shanghai:Shanghai Ancient Books Publishing House,2011.]
朱熹:《晦庵先生朱文公文集》。《四部丛刊》本。[Zhu,Xi.The Collection of Zhu Wengong.Four Series of Books.]
(1)按,据《瀛奎律髓》卷前方回自序,知其成书于元至元二十年(1282年),方回时年五十六。
(2)王运熙先生《中国古代文论中的“体”》一文,对“体”这一术语有详细的讨论,可参看。收入《中国古代文论管窥(增补本)》(上海:上海古籍出版社,2006年):23-34。
(3)方回评谢灵运《石壁精舍还湖中作》亦云:“灵运所以可观者不在于言景,而在于言情。”实际上,谢灵运山水诗的优点不在情胜于景,而是情与景的结合,王夫之对其高度评价皆寓目于此。《古诗评选》卷五谢灵运《登上戍石鼓诗》评语云:“言情则于往来动止、缥缈有无之中,得灵蠁而执之有象;取景则于击目经心、丝分缕合之际,貌固有而言之不欺。而且情不虚情,情皆可景;景非滞景,景总含情”,见《船山全书》第14册(长沙:岳麓书社,2011年)第736页。《邻里相送至方山》评语云:“情景相入,涯际不分,振往古,尽来今,唯康乐能之”(同上,第731页)。
(4)方回曾多次强调格高,《唐长孺艺圃小集序》:“诗以格高为第一。”《瀛奎律髓》卷二十一:“诗先看格高而语又到,意又工为上;意到语工而不高,次之;无格无意又无语,下矣。”据顾易生等先生的意见,“格高”的内涵包括:诗体浑大、剥落浮华、瘦硬枯劲、恢张悲壮、自然质朴、豪放深蕴等(顾易生等934-35)。
(5)参见詹杭伦《方回的唐宋律诗学》(北京:中华书局,2002年)第140-43页、田金霞《方回〈瀛奎律髓〉研究》(北京:中国社会科学出版社,2015年)第175-80页。
(6)胡道静《新校正梦溪笔谈》卷十五(北京:中华书局,1957年)第161页。沈括之后,常有论及该句法者,侯体健对此问题有细致梳理,可参见“试谈唐宋诗文中的‘交蹉语次’与‘感官优先’---‘石五六鹢’句修辞性诗艺的两种解读”,《中国韵文学刊》3(2010):1006-2491。
(7)参见刘飞、赵厚均:“方回崇陶与南宋后期江西诗派的自赎”,《文艺理论研究》1(2014):185-95。
丁福保:《历代诗话续编》。北京:中华书局,1983年。[Ding,Fubao.The Sequel to Poetry Commentaries across Dynasties.Beijing:Zhonghua Book Company,1983.]
方东树:《昭昧詹言》。北京:人民文学出版社,1961年。[Fang,Dongshu.Zhao Mei Zhan Yan.Beijing:People's Literature Publishing House,1961.]
方回:《桐江集》,《续修四库全书》集部1322册。上海:上海古籍出版社,2002年。[Fang,Hui.Collected Works of Tongjiang.The Sequel to Complete Library in the Four Treasuries of Literature Collections.Vol.1322.Shanghai:Shanghai Ancient Books Publishing House,2002.]
---:“文选颜鲍谢诗评”,《瀛奎律髓汇评》,李庆甲汇评。上海:上海古籍出版社,2005年。[---.“A Review of Yan's,Bao's and the Xies'Poetry.”Fundamentals in Prosody(Ying Kui LüSui).Ed.Li Qingjia.Shanghai:Shanghai Ancient Books Publishing House,2005.]
顾易生蒋凡刘明今:《宋金元文学批评史》。上海:上海古籍出版社,1996年。[Gu,Yisheng,Jiang Fan,and Liu Mingjin.A History of Literary Criticism of the Song,Jin and Yuan Dynasties.Shanghai:Shanghai Ancient Books Publishing House,1996.]
何汶:《竹庄诗话》。北京:中华书局,1984年。[He,Wen.The Bamboo Manor Poetry Commentaries.Beijing:Zhonghua Book Company,1984.]
洪迈:《容斋随笔》。上海:上海古籍出版社,1978年。[Hong,Mai.Rong Zhai Informal Essay.Shanghai:Shanghai Ancient Books Publishing House,1978.]
胡仔:《苕溪渔隐丛话》。北京:人民文学出版社,1962年。[Hu,Zai.Series of Poetic Notes Taken by the Recluse of the Brook Tiao.Beijing:People's Literature Publishing House,1962.]
刘勰:《文心雕龙义证》,詹锳义证。上海:上海古籍出版社,1989年。[Liu,Xie.The Literary Mind and the Carving of Dragons.Ed.Zhan Ying.Shanghai:Shanghai Ancient Books Publishing House,1989.]
李延寿:《南史》。北京:中华书局,1975年。[Li,Yanshou.The History of Southern Dynasties.Beijing:Zhonghua Book Company,1975.]
毛飞明:《方回年谱与诗选》。杭州:杭州大学出版社,1993年。[Mao,Feiming.Fang Hui's Chronology and Collection of Poems.Hangzhou:Hangzhou University Publishing House,1993.]
沈德潜:《说诗晬语》。北京:人民文学出版社,1979年。[Shen,Deqian.Shuo Shi Zui Yu.Beijing:People's Literature Publishing House,1979.]
永镕等:《四库全书总目》。北京:中华书局,1965年。[Yong,Rong,et al..A General Catalogue to the Complete Libraryin the Four Treasuries of Literature.Beijing:Zhonghua Book Company,1965.]
钟嵘:《诗品集注》,曹旭集注。上海:上海古籍出版社,2011年。[Zhong,Rong.Collected Annotation to Shi Pin.Ed.Cao Xu.Shanghai:Shanghai Ancient Books Publishing House,2011.]
朱熹:《晦庵先生朱文公文集》。《四部丛刊》本。[Zhu,Xi.The Collection of Zhu Wengong.Four Series of Books.]
(1)按,据《瀛奎律髓》卷前方回自序,知其成书于元至元二十年(1282年),方回时年五十六。
(2)王运熙先生《中国古代文论中的“体”》一文,对“体”这一术语有详细的讨论,可参看。收入《中国古代文论管窥(增补本)》(上海:上海古籍出版社,2006年):23-34。
(3)方回评谢灵运《石壁精舍还湖中作》亦云:“灵运所以可观者不在于言景,而在于言情。”实际上,谢灵运山水诗的优点不在情胜于景,而是情与景的结合,王夫之对其高度评价皆寓目于此。《古诗评选》卷五谢灵运《登上戍石鼓诗》评语云:“言情则于往来动止、缥缈有无之中,得灵蠁而执之有象;取景则于击目经心、丝分缕合之际,貌固有而言之不欺。而且情不虚情,情皆可景;景非滞景,景总含情”,见《船山全书》第14册(长沙:岳麓书社,2011年)第736页。《邻里相送至方山》评语云:“情景相入,涯际不分,振往古,尽来今,唯康乐能之”(同上,第731页)。
(4)方回曾多次强调格高,《唐长孺艺圃小集序》:“诗以格高为第一。”《瀛奎律髓》卷二十一:“诗先看格高而语又到,意又工为上;意到语工而不高,次之;无格无意又无语,下矣。”据顾易生等先生的意见,“格高”的内涵包括:诗体浑大、剥落浮华、瘦硬枯劲、恢张悲壮、自然质朴、豪放深蕴等(顾易生等934-35)。
(5)参见詹杭伦《方回的唐宋律诗学》(北京:中华书局,2002年)第140-43页、田金霞《方回〈瀛奎律髓〉研究》(北京:中国社会科学出版社,2015年)第175-80页。
(6)胡道静《新校正梦溪笔谈》卷十五(北京:中华书局,1957年)第161页。沈括之后,常有论及该句法者,侯体健对此问题有细致梳理,可参见“试谈唐宋诗文中的‘交蹉语次’与‘感官优先’---‘石五六鹢’句修辞性诗艺的两种解读”,《中国韵文学刊》3(2010):1006-2491。
(7)参见刘飞、赵厚均:“方回崇陶与南宋后期江西诗派的自赎”,《文艺理论研究》1(2014):185-95。