摘要
"切"是中国古代诗学中一个相对晚熟、发展历程较为曲折的术语.切在宋之前是肯定性评价,在唐宋诗比较的视域中,宋诗的真切被严羽归纳为着题、滞实,继之明代诗学在斥实倾向下提倡"诗不可太切".清初诗学家在反思语境中重新界定切,吴乔指出切是味的基础,叶燮以"理事情"作为切的判断标准等.清代中期,在对"神韵"弊端的反思中,翁方纲提出"真也者,切己之谓也",金德瑛提出"切则日新而不穷",将切与贵真、求新相联系."切"的含义被具体化为诗人的真实境遇、诗人心灵以及诗歌意象三者之间的切合关系.清代诗学对"切"的讨论经历了实、真、新三个阶段,最终超出审美意义上的唐宋诗之争,并成为诗学发展的普遍要求.
Abstract
The term"Qie,"denoting consonance or aptness,emerged as a relatively mature concept with a convoluted development trajectory within ancient Chinese poetics.Prior to the Song dynasty,"Qie"was used as a term of positive appraisal.In the comparative discourse between Tang and Song poetry,Yan Yu recognized the"truthfulness"of Song poetry as being apt in subject matter and grounded in reality.Subsequently,Ming dynasty poetics,under a trend of eschewing overt realism,advocated for a moderation in poetry's adherence to"Qie."Early Qing poetic scholars,in a reflective reevaluation,redefined"Qie":Wu Qiao deemed it essential for capturing taste,while Ye Xie identified"rationale,matter,and emotion"as its evaluative criteria.Mid-Qing reflections on the shortcomings of"divine charm"led Weng Fanggang and Jin Deying to reposition"Qie"within the realms of authenticity and continual innovation,arguing that"Qie"involves an alignment among the poet's genuine circumstances,inner spirit,and the imagery of the poem.This reconceptualization of"Qie"through the phases of reality,truth,and innovation transcended the aesthetic debates over Tang and Song poetry,establishing it as a universal principle in the advancement of poetics.
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