从“法之格”到“意之格”

【作者】 高晓成；

【导师】 蒋寅；

【作者基本信息】 中国社会科学院研究生院 ， 中国古代文学， 2014， 博士

【摘要】 本论文包含与唐代诗歌理论有关的五个专题内容的研究，内容涉及唐代“诗格”类著作的主要部分。建立在这五个专题研究结论的基础上，试图传达对唐代诗歌理论的这样一种理解：唐代以“诗格”为主要形式的诗歌理论大致可划分为前后两期，前期主要内容以讨论对属、声律、句法、结构等外在形式为主，可称为“法之格”；以王昌龄《诗格·论文意》篇为标志，唐人诗歌理论开始转向意象、句势、格调等内在的审美诉求，可称为“意之格”，他主张的“意高则格高”也逐渐成为中晚唐诗人普遍认同的终极美学理想。五个专题研究主要结论如下：《法之格一：对属论》：将唐代对属理论按时期特征分为四个阶段，武后之前沿袭六朝从语意、结构、音韵角度对属；高宗武后时期开始从词组、单字、偏旁等细部建立起以“奇”为审美特质的对属模式；王昌龄、皎然开始着眼于诗意、句势的对属，代表唐人对属理论的最高水平；此后对属理论逐渐淡出唐人视野再无创新。《法之格二：病犯论》：“八病”是关于汉字读音差异性审美的规则，平头、上尾、蜂腰、鹤膝属于音调差异美的要求，大韵、小韵、旁纽、正纽属于音种差异美的要求，从近体诗的声律结果来看，唐人更看重音调的起伏变化，音种差异则由于其本身的多样性被逐渐忽略；龃龉病、丛聚病、忌讳病等反映出唐人早期关注的“句病”着眼点集中在声韵不和、对属不工、字形类似、文繁义寡、语意不祥、格式单一、不合情理、结构混乱、使用俗语九个方面。《由法到意：王昌龄<论文意>与唐代诗歌理论的转向》：《论文意》篇以“意高则格高”为理论支点，以创造“出万人之境，望古人于格下”的诗意为中心目标，诗歌内容则要求“书身心”，通过诗人“巧运言词，精练意魄”，构思“左穿右穴，杰起险作”的诗句来表达诗意，诗意与物象的关系逐渐成为构思的重心，王昌龄主张二者应“物色兼意”、意景交融。总体确立了诗以“意”为主的创作理念，在近体诗格律定型后将唐诗引向追求内在审美的道路。《意之格一：格高》：受王昌龄“意高则格高”观点的影响，中唐以后诗人普遍树立起主要通过苦心搜觅“诗意”提升诗歌整体品格、格调的创作思路。“意”的品质对“格”的影响主要体现在：与伦理道德关系要能“裨益风雅”、创作目标为“似易而难到”、同时具备“深”与“新”两个品质要求，讲求结构功能与“中庸”、“含蓄”、“谨严”的诗意表达方式。《意之格二：物象比》：晚唐诗歌多用“物象”比喻与政治、道德相关的“人事”，文章对这种现象源于诗骚的比兴、香草美人传统有所揭示，分析了“物象”与“人事”建立对应关系的原则，指出它在晚唐诗人创作中的重要作用，最后指出“意”与“象”互相“含蓄”的诗歌表达方式与诗人对社会和自身处境的担忧与不满共同造成这种现象在晚唐集中爆发。更多还原

【Abstract】 This thesis contains five studies on Tang Dynasty poetry theory, covering themain part of the Tang Dynasty "Shige" works. Based on the conclusions of theseresearches, the thesis attempts to explain such kind of an understanding as follows:Tang Dynasty poetry theory of " Shige " can be divided into two periods. In the firstperiod, most discussions include antithesis, rule of rhythm, syntax, poetry structureand the external form, etc. In the second stage, Wang Changling’s "The DiscussionAbout Poetry Meaning" marks transformation to the intrinsic aesthetic appeal,including poetry meaning, sentence potential, style grade, and these studies graduallyreach to " top style grade " as the ultimate aesthetic ideal of consensus.Five thematic research conclusions are as follows:"Pattern of the law: Atinthesis theory": The atinthesis theory of Tang Dynastycan be divided into four periods according to characters of the period. After SixDynasty, the discussion before Wuzetian focused on semantics, syntactic structureand phonological perspective; in the period of Gaozong and Wuzetian, the atinthesistheory were builded on the based of "odd" form. Wang Changling and Jiaoran beganto focus on poetry meaning and sentence potential, which represented the highestlevel of the Tang’s Atinthesis theory; thereafter the atinthesis theory gradually fadeout from Tang vision."Pattern of the law: Errors of Rhythm and Sentence ":“Eight errors" are the ruleon the pronunciation differences about Chinese aesthetic character in the poetry,Pingtou, Shangwei, Fengyao and Hexi belong to tone differences, while Dayun,Xiaoyun, Pangniu and Zhengniu belong to timbre differences.From Rhythm rule ofthe Metrical poetry, Tang People paid more attention to the tone and timbredifferences increasingly ignored due to the diversity of their own; Juyu, Congju andJihui could reflect the concern about "sentence disease" in the early Tang, whichfocused on the such nine perspectives: no concentrated in rhyme, not neat atinthesis,analogous font, monotonous meaning, ominous writing, monotonous format,unconscionable semantics, disordered structure and vulgar Writing."Wang Changling’s The Discussion About Poetry Meaning and the change ofTang Dynasty poetry theory”: the theory based on "good meaning means good patternand high grade" aimed to achieve a new level of writing as a central objective. Poetrycontent required "writing own experience and mind” and used words precisely andconsistently. The relationship between poetic meaning and images was "the scenewould merge into poetry meaning". Eventually creative ideas were set up that mainlyrelied on the poetry meaning and pursued intrinsic aesthetic."Style one of the article: high level of style": Influenced by Wang Changling’spoints of views of "good meaning, good style”. Tang Dynasty poets generallyestablish a new writing style to enhance the overall character of poetry throughseeking the meaning of poetries. The influences of "meaning" on the "style" were asfollows: the relationship of ethics was able to "benefit elegance"; creative goalwas "to seem easy but difficult";"deep" and "new" were two quality requirements to be fulfilled simultaneously; emphasized on structure and "moderate","reserved" and"cautious" function."Style two of the article: images": Poetries in Late Tang Dynasty more usedmetaphor on political and morality-related issues by "images". The thesis revealsthe origins of this phenomenon from Sao Bixing poetry and traditions like describingbeauty and herbs, and analysis the relationships between them, indicating theimportant role in the creation of poetry writing. It concluded that both of the "subtle"poetic expressions on "meaning and images" and poets’s own concerns about theirown situation and unsatisfied with society led to an outbreak in the late Tang Dynasty.更多还原