明代中古詩歌批評析論

Abstract

明代對中古詩歌的批評，在數量與質量上皆頗為可觀，本文特擇出「詩教傳統的延續與轉換」、「抒情的重視及其傾向的轉換」、「審美重心的轉變」三大主題，一探其具體之評論狀況。 在詩教傳統的主題中，由於傳統詩教的強大影響，明代以前的中古詩評，仍有不少延續詩教倫理品德的觀點。發展至明朝，除了若干前承之論，詩評家更著意於「轉換」，例如將原本帶有政教倫理性質的溫柔敦厚，逐步導向詩歌藝術的面向。再者，緣情綺靡與儒教質素亦於明人的闡釋中，展現相互交涉的可能。中古詩歌的創作誠然對抒情抱有高度的自覺，詩教的倫理實用性質確實也逐步淡出，然其深層的精神影響並未因此完全斷絕，透過明人的闡釋，將可見到詩教傳統於中古詩歌中持續延展的樣貌。 至於抒情議題之相關探討，在辨析緣情概念的基礎上，尚可區分為三個子題：俗艷之情在南朝詩評中並不受重視，明人卻能賞其價值；婉約之情也因明人的著意闡釋，而使中古詩作這方面的特質得到更多的矚目；至於情景論題，南朝詩評家將目光集中在形似的闡發，其後又歷經情、景分別述評的種種變化，直至明人方明顯著意於情景交融所散發的光彩。凡此種種，俱可清晰地見到歷朝詩學品好的不同，而明人異於前朝的獨到眼光亦由此突顯。 最後關於審美重心的轉變，主要集中在「風骨」與「清麗」的探討上。被南朝與初唐詩評家視為美典的風骨，明人試圖從盛氣太過之弊端、怎樣的風骨表現方能成就佳作……等種種角度，深化風骨之探討；並試圖挖掘中古詩歌中陰柔的質素，復與風骨相融，從而樹立起延續建安風骨、卻又蘊含婉諧成分的新的詩歌典範。至於清麗論的探討，從南朝至明代的詩歌批評中，隱約可見「清」地位之提升，闡釋上則有由「清淺」轉向「清遠」的變化；再者，透過對清代以前「麗」、「清」概念交融暨消長的觀察，會發現對於清麗交融的深入闡釋，需至明朝方有較好的成績；而明代以前多得「麗」評之詩作，明人往往能提挈其清新的一面，可見中古詩評有逐步重「清」的趨勢。 近現代關於明朝詩學批評的研究成果，多由詩派、詩社的脈絡論述；對於豐厚的明代中古詩評材料，亦未能有較多的關注。本文選擇以詩教、抒情、審美三大主題加以析論，可謂突破了以詩派、詩社為主的論述疆界，從而拓展岀不同的觀看眼光，並對中古詩評有較系統性的探究，此乃本文與前輩學者研究最大的相異與創見所在。如此探討所呈現之文學史意義主要有三：首先，就中古詩歌本身而言，透過前後各朝批評的比對，從而聚焦於明代，因觀察視野不同，反而更能呈現中古詩歌內涵的多面性，如此實豐富我們觀看中古詩歌的視野，也更突顯出中古詩歌的價值。第二，就明人之詩歌批評而言，多能展現出有別於前朝的慧眼，藉由對明人評論中古詩歌的具體觀察，可以發現其詩評觀點是極具參考價值的。最後，就詩教、抒情、詩歌審美三大批評主題而言，除了見到中古詩歌於前後朝歷時性評價中演變的情形，更能由此評價，再反過來觀察整個詩學批評發展的轉進情形。這樣的探索，當能對文學史上詩教、抒情、風骨、清、麗論等問題有更深刻的掌握。

MDPC：The Ming Dynasty poetry criticism MAP’s：middle ancient poems SOC：the strength of character (風骨) The Ming Dynasty poetry criticism (MDPC) of middle ancient poems (MAP’s) is remarkable for its quality and quantity. In this dissertation, we study this issue in three aspects: the continuity and the transition of the traditional poetic education, the emphasis on lyric poetry and the transition of its tendency, and the transition of aesthetic focus. In the first topic, because of the enormous influence from the traditional poetic education, the poetry criticism of middle ancient poems before the Ming Dynasty follows the conventional opinions. In the Ming Dynasty, poetry criticism puts more emphasis on transition, e.g. the transition from the gentleness with educational properties to aesthetical aspects. Besides, MDPC also tries to show the possibility of the blend of magnificence and Confucian education. Although traditional poetic education fades away, its spiritual influence does not stop. From MDPC we see the continuation of Confucian education in MAP’s. In the second topic, to analyze the concept of emotion (緣情), there are three issues to be addressed. First, unlike the poetry criticism in the Southern Dynasties, MDPC appreciates the values of lyric poems which are vulgar and gorgeous (俗豔). Second, the property of euphemism in MAP’s attracts more attention as a result of the detailed explanation of MDPC. Last, not until the Ming Dynasty does the poetry criticism redirect its focus from seeming similarity (形似) to the blend of emotion and scenery. All of these reflect the remarkable values of MDPC. The last topic focuses on the discussion of the strength of character (SOC,風骨) and purity and showiness (清麗). Poetry criticism in the Southern and early Tang Dynasties highly appreciate the SOC, but MDPC try to strengthen the analysis of the SOC from different perspectives. MDPC tries to blend the SOC and the property of tenderness to build a new poetry paradigm. As for the discussion on purity and showiness, we can roughly see the rise of the position of purity. Moreover, from the observation of the rise and fall of purity and showiness, we conclude that MDPC has a profound analysis of the blend of purity and showiness, and there is a tendency to emphasize the concept of purity in MAP’s. Most research results on MDPC perform their analysis according to schools of poetry or clubs of poetry. In contrast to this, we analyze MDPC from the points of view of poetic education, lyricism, and aesthetic focus. We not only provide a systematic approach to studying the MAP’s, but also give insight into MAP’s. We conclude the analysis of MDPC in three points. First, by comparing the poetry criticism in different dynasties, we show the versatility of the essence of MAP’s, broadening the view of MAP’s. Second, MDPC has an original point of view about MAP’s, and therefore it is an invaluable resource for MAP’s. Last, based on the three topics: poetic education, lyricism, and aesthetic focus, we analyze the evolution of the poetry criticism of MAP’s and the development of poetry criticism. By such exploration, we give a better understanding of poetic education, the strength of character, and purity and showiness.