感物诗学:一个新的诗学类别的诞生  

The Poetics of Perceiving Things:The Birth of a New Category of Poetics

作　　者：徐志鸿[1] XU Zhihong(Peking University)

机构地区：[1]北京大学

出　　处：《国际比较文学（中英文）》2023年第4期156-176,共21页International Comparative Literature

摘　　要：中西方思想史上有许多关于诗人感物作诗过程的诗学理论,虽然这些诗学理论属于同一类别,但至今尚未得到命名和理论总结。本文将其命名为感物诗学,并定义为一种探讨诗人感物作诗过程的诗学类别,由主体和客体两部分构成。为了确定感物诗学的类别范围,必须了解导致这种诗学类别内部差异的变量及其边界所在。因此,本文从客体和主体两个角度对里尔克的物诗诗学、刘勰的心物交融诗学和王国维的“有我之境”与“无我之境”进行了比较研究。本文发现,在客体方面,里尔克十分强调剔除客体的偶然性,仅留下必然性,并由此暴露客体的本质,凸显客体的存在性,而刘勰和王国维的诗学并不着意分辨这种偶然性,刘勰十分注重偶然性对物象的作用,王国维的“有我之境”更是着意将诗人主体性加诸客体,使其增加偶然性,即使是他所说的较客观的“无我之境”,也不会着意剔除偶然性;在主体方面,里尔克物诗诗学是眼睛的诗学,而刘勰与王国维的诗学则以心为根本感知器官。四种诗学在主客体上的不同思想都指向了不同的主客观程度,并因此指向了不同的主客体在场地位:里尔克物诗诗学强调凸显客体的本质,用较为客观的眼睛感物,因而是极度客观的感物诗学,里尔克物诗中诗歌主体基本没有在场地位;王国维的“无我之境”虽然“以物观物”较为客观,但是仍旧有“我”的存在,因此是客观程度不及里尔克的客观感物诗学,“无我之境”对应的诗歌中客体处于在场地位;刘勰强调“随物宛转”“与心徘徊”,对主观性和客观性都有要求,因而是较为折衷而偏向主观的感物诗学,而其对应的诗歌中主体处于在场地位;“有我之境”强调以我观物,凸显主体的在场地位,因而是极度主观的感物诗学。本文由此得出结论,四种诗学的理论差异根源在于主客体在场地位�In Chinese and Western intellectual histories,there are numerous poetic theories about how poets compose poetry through the perception of things.Despite that these poetics tellingly belong to the same category,they have neither been named nor theoretically recapitulated.In an attempt to fill this gap,this paper calls it the poetics of perceiving things(ganwu shixue感物诗学)and defines it as a poetic category that explores the process of poets creating poetry by/after perceiving things,which tends to consist of two parts:the subject and the object.To determine the scope of the poetics of perceiving things,it is necessary to understand the variables that lead to the differences within this category of poetics and where its boundaries lie.To this end,this paper compares Rilke’s poetics of Dinggedichte,Liu Xie’s poetics of the intermingling of mind and things,and Wang Guowei’s poetics of“the realm with me”(youwozhijing有我之境)and“the realm without me”(wuwozhijing无我之境)from two perspectives:the object and the subject.The article demonstrates that in terms of the object,Rilke attaches great importance to the elimination of the contingency of objects,keeping only necessary properties,thereby revealing the essence of the object and highlighting its being;Liu Xie and Wang Guowei,however,do not bother with this kind of demarcation.The contingency of objects figures prominently in Liu Xie’s poetics,while Wang Guowei’s poetic“realm with me”even intentionally imposes the poet’s subjectivity on the object to foreground the latter’s contingency;Wang would not eliminate the contingency of objects even when it comes to his more objective idea of the“realm without me.”In terms of the subject,Rilke’s Dinggedichte can be 4deemed as the poetics of the eyes,while Liu Xie’s and Wang Guowei’s poetics take the heart as the fundamental sensory organ.The different conceptions of subject and object in light of the four types of poetics point to different degrees of subjectivity and objecti

关 键 词：感物诗学 里尔克 物诗 刘勰 文心雕龙 王国维 

分 类 号：I052[文学—文学理论]