诗学曲学比较引论

【作者】 黄飞立；

【导师】 黄霖；

【作者基本信息】 复旦大学 ， 中国文学批评史， 2009， 博士

【摘要】 本文的主旨是对中国古代“文”学中的两个分支——诗学和曲学进行比较研究。中国古代文学和文论的总体演变趋向是文人化，综观中国文学史和文学批评史，每当一种新文体及相关理论诞生，就已经开始其文人化的进程了。本文正是以此为切入点，希冀通过对文人化这一中国文学批评的总归趋在诗学、曲学各自发展过程中不同表现方式的剖析，找到二者之间比较的具体语境和背景。此外，由于诗学的久远和神圣，文人化最为彻底，后起的音乐文学及相关理论总是自觉不自觉地向其趋近和靠拢，曲学就是其中的一个显例。因此，本文第一章在首先对关乎本文主旨的“文人化”进行界定和分析、在对文人最为看重、用以区隔自我与众庶的“雅俗之辨”进行考察后，讨论了诗学的文人化过程。本文认为诗学的文人化经历了三个阶段：先秦两汉儒家诗乐论规定了诗学的基本特质，是为文人诗(学)的准备阶段；魏晋六朝士人阶层意识、个体意识勃兴，兼之玄学和佛学的思想洗礼，诗歌被视为寄寓文人主体精神、寻求主体性超越并达致幽渺玄远境界的文艺样式，是为文人诗(学)的成立阶段；从唐开始终有宋一代，随着近体诗的成熟与兴盛，文人诗体逐渐完备和定型，而对于文人诗体独特性的探索也以对“格”与“韵”的体认划定了界域：格即格律、格调，是文人诗的外在风貌；韵即韵味、神韵，是文人诗的内在精神。唐宋之际亦是中国历史上一个变化剧烈的时期，所谓“唐宋转型”即是对这种变化的说明和体认。而俗文学进入文人视野和文献及以之为契机的所谓俗文学的兴起也当从这一背景来理解。第二章即从此生发开对于曲之形成和曲学品貌的考察。词在宋的兴盛以及“曲”的逐渐兴起，使得诗歌谱系越加丰富，面对着悠久的诗歌(学)传统，词论及后来兴起的曲学在不断汲取其思想资源以提高自身地位和品味的同时也丧失了某些独特性。特别是“曲”，不仅仅指散曲，更指迥异于诗歌的作为综合性表演样式的戏曲，由于诗学传统，曲学对于戏曲文学方面的关注中心长期以来只停留在“曲词”这一层面，而体现曲学特质的又仅仅是声调格律论，具体来说就是曲谱学，对于“剧”之一面的重视已经是很晚的事了。由于曲与民间始终割不断的联系及其先天特质，曲学终其发展的全过程也没有像诗学那样彻底文人化。第三章进入具体比较研究。该章以文学乃至艺术的若干重要问题为中心分别展开诗学与曲学之间的比较分析。第一节首先从艺术的发生问题谈起，“人文说”和“物感说”乃其基础。由于浸润在礼乐文化的大氛围中，对这一问题的认识往往与诗教、乐教联系起来，而这同时也就规定了诗和曲最大的功用。第二节从创作方面入手，讨论了诗学、曲学对于创作时心理状态和思维特点认识的相同和相异处，以及各自对于法，具体到结构、与学问关系等问题的阐述。第三节则以文学风格和流派作为论述的重点，阐发了曲学中独特的对于“声情”和“词情”关系的认识，以及诗学对于含蓄风格的偏爱和曲学中所无的对于“文如其人”的讨论，另外，二者都注意到了南北地域诗风和曲风的差异。第四节讨论了诗学和曲学对于最高艺术境界的期许，二者均以“自然”为鹄的，同时对自然与“作意”也有相当辩证的看法，诗学有“入神”，曲学有“化工”，同是自然的最高境。第五节从接受论的角度出发，从批评态度、评论方法、评论著作形式等几个方面对二者进行了考察。第四章转入从范畴角度对二者进行讨论分析。该章分为两个部分，分别从诗学、曲学二者较为常用的范畴出发考察这些范畴在不同文体批评中使用时相同或相异的涵义，以及有些范畴只在某种文体批评中出现的原因。诗学部分选取的四组范畴既有诗学的核心范畴链，也有标示了诗学最高境界的范畴，它们或者在挪用入曲学时发生内涵变异，或者因自身的文化分野意味而足不出诗。曲学部分的“本色”、“真”范畴均自诗学而来，但其在诗学中的地位远无法与曲学相比，并且在曲学中蔚为大国后又反哺于诗学，在诗学曲学的关系模式中比较罕见。更多还原

【Abstract】 The theme of this thesis is to make comparative study on poetics and Qu Xue,which are two branches of the Chinese ancient scholarship on literature.The general trend of Chinese ancient literature and theory is toward intellectualition which process begins accompanying a new style and its theory was born throughout the literary history.It is then intellectualition by which this thesis attempts to find the concrete contexts and background for comparative study between poetics and Qu Xue.Besides,due to time-honoured and sacred poetics and its thorough intellectualition ,the following musical literature and criticism are always close to it consciously or not,among them Qu Xue is prominent.Therefore Chapter one defines and analyses intellectualition first and study the distinction between Ya and Su which intellectual attaches importance to most and by which distinguish themselves and the mass.After doing this,the paper discuss the process of intellectualition which is considered three stages:the first is prepared stage for intellectual poem(poetics) when Confucianism defines the basic characteristics of poetics in Xian Qin and Liang Han;the second is established stage in Wei Jin and Six Dynasties when individual consciousness awakes and Xuan Xue and Buddhism rises,intellectuals see poem as a form by which they can transcend themselves spiritly;in the third stage from Tang to Song,along with the forms of poem complete and become fixed,intellectuals difines the border of poem of theirs:Ge and Yun,internal and external of a poem.Tang and Song is an era full of great changes in the history of China and for this reason called Transitions in T’ang and Sung China,from which we can understand the rise of so-called Su literature ,as a result of its access to intellectual’s vision and documents.Chapter two observes the formation and appearance of Qu on the basis of the above.The prosperity of Ci and the gradual rise of Qu enriches the tradition of poetry from which Ci Xue and Qu Xue draws spirit resource to drive up their status and quality,whereas losing their own specific character.Especially Qu,not only refers to San Qu,but also Xi Qu as a comprehensive acting form far apart poem.Due to the tradition of poetry,Qu Xue constantly focuses on the lyrics as a form of literature,in which only rules for tonal patterns and rhyme scheme represents its specific character,more concrete is Qu Pu Xue and it is very late for Qu Xue to focus on the side of drama.As a result of un-break connection with the mass and its own congenital character,Qu Xue has not finished intellectualition like poetics from beginning to end. Chapter three enters the concrete comparative study.Putting sevral subjects on literature and Arts the centre of the study,this chapter makes comparative analysis to poetics and Qu Xue.Part one begins from the happenning of Arts which built on the basis of concept of Wu Gan and Ren Wen.The point of view about this subject is always connected with Education of Poetry and Music because soaked in the Culture of Ritual and Music and so on set the biggest use of poetry and Qu.Part two begins with subject of writing and discuss the same and different point of poetics and Qu Xue about psychology in the process of writing.This part also discuss the subject of structure and relationship between literature and knowledge,that is,Laws in the writing.Part three lays emphasis on the style and schools and introduces the specific content about relationship between Sheng Qing and Ci Qing,and discuss partiality for implicit style in poetics and the content of so-called style as the author which is not discussed in Qu Xue.Besides,both of them pays attention to the difference in style in the North and South.Part four focuses on the pursuit of top level in Arts and find they both see Nature as this level.Part five based on the interpretationism and study the subject on attitude,means and writing forms in criticism.Chapter four changes over to the point of category.This chapter contains two parts and respectively discuss the common category which referring may be same or different in different literary form criticism and the reason why some categories are not used in certain forms.Part of poetics selects four sets of categories which not only contain the core chains of category in poetics,and some mark the top level in poetry.some of their connotation changes when moved into Qu Xue and some of other never move out because of the consciousness of dividing line of culture.Category Ben Se and Zhen in Qu Xue originated in poetics but their status are far more higher in Qu Xue.This situation rarely happens in the mode of communication between both of them that categories prosper in Qu Xue and affect poetics on the contrary.更多还原