阴阳交感:欧阳修的音乐思想与诗学  

The Interaction of Yin and Yang:Ouyang Xiu’s Idea of Music and His Poetics

作　　者：成玮 Cheng Wei(the School of International Chinese Studies,East China Normal University,Shanghai 200062,China)

机构地区：[1]华东师范大学国际汉语文化学院,200062

出　　处：《文艺理论研究》2020年第2期103-111,共9页Theoretical Studies in Literature and Art

摘　　要：欧阳修视诗歌为音乐之苗裔,拿对音乐的认识去规定诗歌。他上承《礼记·乐记》之说,认为音乐本乎阴阳二气,但抽掉了后者的物质性,由此将乐与诗的主要作用,归结为以情感人。在他看来,阴阳二气具失调之可能,与此相应,乐与诗所含情感更趋多样化;二气周流于天地间,与此相应,乐与诗所含情感更趋普遍化。情感的多样化,因阑入若干非雅正的成分,使乐与诗不若以往那样崇高;普遍化却又在一定程度上维护了乐与诗的地位。由是观之,北宋在若干文化领域,开始出现一种立足原本正统,而接引异质因子入内的新倾向。欧阳修正是其先驱之一。Ouyang Xiu regarded poetry as derived from music and he would prescribe poetry with his idea of music. His idea can be traced back to "Records of Music(yue ji)" in The Book of Rites, as he argued that music is originated from the vital energy(qi) of Yin and Yang. However, he abstracted the materiality from poetry and thus attributed emotional appeal to both music and poetry as their main function. In Ouyang’s view, the imbalance of vital energy between Yin and Yang manifests in the diversity of emotions in music and poetry, while the circulation of the vital energy between the heaven and the earthly world manifests in the ubiquity of emotions. The diversity of emotions, as contaminated by unorthodox elements, causes the crippled sublimity of music and poetry, whereas the ubiquity of emotions has helped to maintain the status of music and poetry. Henceforth, in quite a few areas of the Northern Song Dynasty culture scene there emerged a tendency to hold onto the orthodox ideas while imbibing heterogeneous elements, of which Ouyang Xiu is a pioneer.

关 键 词：欧阳修 乐学 诗学 情感 正统 异质 

分 类 号：I207.22[文学—中国文学]