《宇宙与意象》研究及中国古代宇宙诗学论

【作者】 张鸿；

【导师】 史忠义；

【作者基本信息】 中国社会科学院研究生院 ， 比较文学与世界文学， 2014， 博士

【摘要】 本论文以研究《宇宙与意象》的若干问题为起点，比较中西诗学中的宇宙论。《宇宙与意象》旨在研究文艺复兴后宇宙论科学哲学对诗人想象的作用。作者提出三类意象：宇宙体系、空间和生命。赫拉克利特派哲学和巴门尼德派哲学此消彼长贯穿所有意象。从封闭到开放是宇宙体系的中心意象。空间的中心意象是以太和太空之游。宇宙生命意象包括万有引力、种子、树、蛇、星云、分解、天体的死亡、火、轮回等。封闭宇宙哲学传统压制想象力，导致文艺复兴以后美学的反叛。以无限为美并非诗人独有：神学家认为无限创造才配得上神的威力，天文学家认为无限宇宙才能容纳众多世界，生物学家欣赏多样的生命形式。无限为浪漫主义者所追求，浪漫主义者认为有限和墨守成规意味着枯竭，浪漫主义的美学是无限包容。诗人的心理与宇宙科学哲学有所联系却不能完全平行。龙萨的球形宇宙并不说明他是纯粹巴门尼德派诗人，他崇尚无限时间和变化，赞美导致生命更新的死亡。雨果是纯粹的赫拉克利特派诗人，雨果的宇宙想象是“无限”美学的胜利。克洛岱尔承认无限时间之流，却用封闭房屋比喻有限空间，明确批判无限空间。龙萨和克洛岱尔共同的矛盾在于让有限空间容纳无限时间和变化。中国古人善于超越可见世界，想象不可见世界。中国古代有无限宇宙论传统，总结如下：天地有限，有起始，宇宙无限，无起始。无限有极大和极小两个向度。中心和边缘相对，两者均可取消。无限空间有众多天地。变化是自然之理，变化不息，带来更新和生命。时空和变化不可分割。崇尚无限的哲学化为欣赏无限的美学。中国古代文论家以刘勰、司空图、王夫之和叶燮为代表，其主张在于：人为天地之心，以诗人之心囊括时空；宇宙以变为美、因变生美；以尚变的天道作为根据来说明文学发展史的本质；宇宙存在的模式是诗歌创作和诗学的终极标准；因为人文和天文可以比德，所以主体具有强烈的参与意识，这与古希腊缺乏主体自主性的狂兴说形成对比。中国古代诗人以屈原、李白、杜甫、苏轼为代表，其宇宙论可总结为：质疑有限宇宙模式；强调人生有限和宇宙永恒之间的反差；以变化为宇宙的本质，注重变化的方式和规律；宇宙本体论或虚空或实有，宇宙发生论以气为核心；继承老庄以静观动的宇宙认识论；游于无垠，胸怀天地，超越有限，向往无限；秉承儒家“忠恕”思想，认定人与物同心同性、宇宙生命生生不息。西方无限宇宙论是对传统的反动，超越有限是暴力斗争，从一定程度上远离了人间，以宗教或征服宇宙为目的。无限宇宙还与上帝有关，西方人对无限表现得比较狂热。中国的无限宇宙论是对传统的继承，无限是自然之理，没有宗教色彩，具有平民气息。秉持无限宇宙论的中国诗人不能称为浪漫主义诗人。无限宇宙哲学并未引发中国人对外层空间进行西方人那样的浪漫主义想象。中西宇宙生命论的对比在于精神性和物质性、伦理性和生物性、实践性和无用性、教化和庸俗、整体和谐和个人或群体猎奇。中国古人的宇宙之游是为了个人修养或政治目的，人间是宇宙之游的落脚点。西方人抛弃地球，征服宇宙。西方诗人的心理经历了从有限宇宙到无限宇宙的审美趣味的变化。有限和无限两种宇宙模式的强烈对比导致了文艺复兴后诗人思想的自由奔放。中国古代有无限宇宙论传统。哲学家、文论家和诗人以无限宇宙为美，一贯崇尚无穷时空和变化。中国古代思想史上没有针对有限宇宙模式的革命，面对无限宇宙中国古人始终温和超然。更多还原

【Abstract】 In researching a number of issues in the book Cosmos and Imagination, the PhDthesis aims to compare two views of cosmology in Chinese and western poetry. TheCosmos and Imagination intended to study the influence of philosophy of science andcosmology upon the poets’ imagination. It stressed three typical literary images:cosmos system, space and life. Alternate predomination between Heraclitus andParmenides’ philosophy penetrated all the images. From closed pattern to open patternwas the central image of the cosmos system. The central image of the space was theEther and the theme of space travel. The images of life in the cosmos includedgravitation, seed, tree, snake, nebula, decomposition and death of celestial bodies, fireand transmigration. The tradition of closed cosmos philosophy repressed imagination,and led to the rebel of the aesthetics after Renaissance. Upholding the vision of“unlimited” was not unique to the poets. Theologians believed unlimited creation onlycould match the power of God. The astronomers thought that unlimited cosmos couldenclose many of the worlds. Biologists appreciated unlimited forms of life.“Unlimited” also was pursuit by the romantics, whose aesthetics had infiniteinclusiveness. For them limits and scholasticism meant exhaustion of aesthetics. Thepoets’ mental had contact with the philosophy of cosmos science, but they were notcompletely parallel. Pierre de Ronsard’s spherical cosmos could not testify that he wasa pure Parmenides poet. He advocated unlimited time and change, and praised deathwhich led to new life. Hugo was a pure Heraclitus poet and his cosmic imaginationwas victory of "unlimited" aesthetics. Paul Claudel admitted infinite flow of time, buthe described cosmic space as a closed house and criticized infinite space explicitly.The common contradiction which had Ronsard and Claudel was to allow limitedspace to accommodate unlimited time and changes. Chinese ancients were good attranscending the visible world, imagining the invisible world. They had traditionalvision of unlimited cosmos, which meant that world has limit and starting point, butcosmos has not. There are two infinite dimensions in cosmos, maximum andminimum. The concepts of “center” and of “edge” are interdependent, which can beall ignored. Unlimited cosmos has many worlds. Change is the law of the nature.Endless change brings renewal and life. Time, space and change are indivisible, whichare the essence of the cosmos. Advocating the philosophy of infinite cosmos has beenturned into appreciating aesthetics of infinite. The representatives of the literarytheorists were Liu Xie, Si Kongtu, Wang Fuzhi and Ye Xie. They believed that humanbeings were the heart of the cosmos and poets’ spirit could accommodate the cosmos,that the cosmos took changes as its aesthetic and became aesthetic by the changes.The law of the cosmos which advocates changes was used as a cornerstone to explainthe essence of literature history. Following the law of cosmos was the ultimatestandard of poetry and poetics. Phenomena of human civilization and signs of cosmoshad the same noble sense. Chinese ancients advocated the consciousness of humanbeing’s participation, which was in contrast with the ancient Greece’s lack of selfindependence in the poetics. We choose Qu Yuan, Li Bai, Du Fu, Su Shi to representChinese ancient poets. They questioned the limited cosmos system and were very sensitive to the contrast between limited human life and eternal cosmos. They tookchange as cosmos’s essence and often talked about ways and law of cosmic change.Their points of view regarding cosmic ontology varied between void and plenitude. Qiwas the focus of their cosmology. They inherited thoughts of Laozi and Zhuangzi andunderstood cosmos in the way of observing moving things with peaceful status ofmind. They dreamed of flying in boundless cosmos and embracing the whole world.They had the vocation of surpassing all limits and yearned unlimited space. As aConfucian poet, Du Fu adhered to Confucius concept of “faithful and forgiveness”and firmly believed that human beings and others creatures had the same heart and thesame nature, especially that the cosmic life was perpetual. Occidental concept ofinfinite cosmos was an uprising against the traditional mode. Therefore it was aviolent struggle to surpass cosmic limits. So westerners’ rebel with the purpose ofreligion and conquering the cosmos was to some extent away from the reality or theearth. Related to God, their idea of boundless cosmos was frenetic. On the contrary,Chinese ancients’ unlimited cosmology was placid and without characteristic ofreligion. But we should not call Chinese ancient poets as romantics, though theyclaimed that the cosmos was infinite, because philosophy of boundless cosmos did noturge Chinese ancients to image the cosmos in an occidentally romantic way. Contrastbetween Chinese and occidental concept of cosmos life lay in spirit-material,ethics-biology, practical-impractical, noble（in the sense of being instructive）-vulgar,whole harmony-individual or collective adventures. For Chinese ancients, flying incosmic space was based on the reality and due to the purposes of personalaccomplishment or politics. Westerners abandoned earth and conquered the cosmos.Western poets’ psychology has experienced great change in aesthetic taste fromlimited to unlimited. The strong comparison between limited cosmos’ pattern andunlimited cosmos’ pattern influced the thoughts of poets after Renaissance. Theancient Chinese has the traditional thinking of unlimited cosmos. Philosophers,literary critics and poets admired vision of unlimited time, space and change. There isno violent revolution against limited cosmos system in history of thought of ancientChina. Facing the unlimited cosmos, Chinese ancients always had moderate anddetached attitude.更多还原