理学方法和唐诗批评的美学趣味

诗学理论中的"性情"说,发展到宋代,受到理学的深刻影响.北宋的中后期开始,理学思想及方法对于诗歌理论和诗学方法的渗透,儒家传统诗教中的"情动于中,而形于言"的内涵,因理学的观念和概念的提出而扩充了.其中首先是对"发乎情志"的界定.此时的"情志",已经不是原先单纯的出于自然的诗人个人情感,而是所谓合乎"天理"的"自然",这样,诗人的自然之情便要受到某种制约,而不是像先前那样,是随意的流泻.这里藏伏下来的因素,日后便成为后代诗学方法中,强调"性情"与"法度"统一的先兆.诗学理论与实践中,所谓的"自然"与"法度",或者"性情"与"法度"的统一,在"理"和"道"的层面上,根本无法实施,而只能落实到具体的诗歌技巧如"平仄"的运用中去.理学范畴中的矛盾最后导致诗歌创作实践中摹拟措施的产生.严羽及<沧浪诗话>中的许多观点的形成,都与宋代理学观念与方法有联系,而并非仅仅是"以禅喻诗".甚至可以说,严羽只是对前期深受理学方法影响的唐诗观的一次专业性总结.

Influence by the "Rational School of Learning" on the Tang Poetics Study

With history running to the Chinese Song Dynasty, the study of "nature- feeling" of the Chinese classical poetics had been influenced deeply by the "Rational School of Learning". Here, the "feeling - will" was not purely one bom out of the poets' individual feelings, instead it was the so- called "nature" that conformed to "natural reason". The factors hidden here became signs that predicted that the poetry study would emphasize coordinating "nature - feeling" with "moral standard" in the subsequent periods. But in the Chinese poetry study and its practice, it is not possible at all to coordinate the so - called "nature" or "feeling" with "moral standard" at the layer of "rationality" and "principle". So it had to be put into effect by means of applying some particular skills about poetry writing such as "ping - ze". The contradictions in the category of the "Rational School of learning" finally resulted in imitative measures adopted in original poetic composition.