玄学与陆机《文赋》“感物缘情论”的内涵及其诗学意义  

Chinese Metaphysics and Lu Ji's Poetic Theory in On Literary Writing and Its Poetic Significance

作　　者：蔡彦峰[1] 

机构地区：[1]福建师范大学文学院,福建福州350007

出　　处：《福州大学学报（哲学社会科学版）》2012年第3期83-88,112,共6页Journal of Fuzhou University(Philosophy and Social Sciences)

基　　金：中国博士后科学基金特别资助项目"玄学与魏晋六朝诗歌艺术系统古近之变研究"(200902302)

摘　　要：陆机《文赋》提出"诗缘情而绮靡",后代很多诗论家认为这是对儒家"发乎情,止乎礼义"的"诗言志"观的突破,因此从"诗言志"的角度,对这一诗学观念进行了诸多批评。这种批评的实质是将"诗缘情"作为与"诗言志"相对立的诗歌本源论。但是从《文赋》与陆机的诗歌创作实践来看,"感物"才是陆机的诗歌本源观,而"缘情"乃是一种艺术论,两者具有内在的关联,构成了"感物缘情"的诗学理论。这一诗学理论既是陆机对魏晋以来文学创作实践的总结,又与玄学有密切的关系。在玄学影响下,"感物"既是情感活动又是理性的思考,情感、理思和辞藻构成了"感物缘情"的基本内涵,对西晋以来的诗歌创作产生了深刻的影响。The notion that 'beautiful lyrics are spontaneous overflow of sentiments' put forward in Lu Ji's On Literary Writing was regarded by the later generations of poets as a challenge to the Confucian notion that 'Poetry speaks the mind',which stirs up criticisms of Lu Ji's notion of poetry,the nature of the argument is to put these two notions of poetry in opposition to each other.Viewed from Lu Ji's practice of poetic creation,'sentiments over scenes' and 'overflow of emotions ' are closely related in forging his poetic theory,which is the outcome of his poetry writing experiences since the Wei and Jin Dynasties.His theory of poetry is closely related to Chinese metaphysics.Under the influence of metaphysics,'sentiments over scenes' implies both emotional sentiments and rational reflections which form the basic notion of poetry and exert great influence on poetic creation since the West-Jin Dynasty.

关 键 词：玄学 感物 缘情 本源 艺术 

分 类 号：I206.2[文学—中国文学]