从杂体诗法到山谷诗法  

From Multi-Style Poetics to Shangu Poetics

作　　者：曾祥波[1] Zeng Xiangbo(School of Liberal Arts.Renmin University of China,Beijing 100872.China)

机构地区：[1]中国人民大学文学院,北京100872

出　　处：《北京大学学报（哲学社会科学版）》2021年第3期80-88,共9页Journal of Peking University(Philosophy and Social Sciences)

摘　　要：传统用典是在不同对象、事件之间建立类比关系,引发联想义。杂体诗用典与之不同,是对同一对象、事件的"能指符号-所指意义"关系加以分离、重组,产生全新意义。宋人首次自觉认识到杂体诗用典"字则正用、意须假借"的语言学机制,在字辞、句子、篇章不同文本单位层面广泛运用并加以创新。黄庭坚是宋代杂体诗创作的代表。从创作实践与方法逻辑看,分离、重组典故文本的"能指(语)-所指(意)"关系也是山谷诗法"点铁成金"及相关换骨、夺胎手段的核心机制。换骨是在字辞、句子、篇章三种典故文本单位层面分离、重组"能指(语)-所指(意)"关系。夺胎是对换骨获得的新意义加以引申、否定,形成反转思辨。《沧浪诗话》"以文字为诗"指换骨对典故文本的处理,"以议论为诗"指夺胎对换骨结果的反转思辨,"以才学为诗"统称换骨、夺胎共同具备的典故知识储备前提。从积极方面看,山谷诗法的"语言学转向"是宋人从杂体诗用典的语言学机制中发掘出的一条走出唐诗写作传统、通向现代性诗歌写作前景的新途径。The traditional use of allusions(用典) was to form an analogical relationship between different objects or events, thus bringing about associative meanings. The use of allusions in multi-style poem(杂体诗) writing was to cut off and reconstruct the relationship between the signifier(能指符号) and the signified(所指意义) of the same object or event, so as to produce an entirely new meaning. The poets in the Song Dynasty for the first time consciously realized the linguistic mechanism concerning the use of allusions in multi-style poem writing in which words and expressions should be used with their literal meanings to express metaphorical meanings("字则正用、意须假借"). And they made widespread use and innovation of this mechanism at the levels of various textual units like words, sentences and discourses. Huang Tingjian(黄庭坚) was the representative poet of multi-style poem writing. From the perspectives of writing practice, method and logic, to cut off and reconstruct the relationship between the signifier and the signified in the texts with allusions was also the core mechanism of Shangu poetics(山谷诗法) called "Touching Iron and Turning it into Gold", together with its related means like paraphrasing(换骨) and re-writing(夺胎). Paraphrasing was to cut off and reconstruct the relationship between the signifier and the signified in the texts with allusions at the levels of such units as words, sentences and discourses. Re-writing was to extend or negate the newly-gained meanings by paraphrasing, and form a reflective thinking(反转思辨). In his Canglang Poetic Critique(《沧浪诗话》), Yan Yu(严羽) referred to "writing a poem with words and expressions(以文字为诗)" as the treatment of the texts with allusions by paraphrasing, to "writing a poem with discussions and commentaries(以议论为诗)" as a reflective thinking about paraphrasing caused by re-writing, and to "writing a poem with learning and talent(以才学为诗)" as a prerequisite for the reserve of th

关 键 词：杂体诗法 语意关系 点铁成金 换骨 夺胎 

分 类 号：I207.2[文学—中国文学]