欧阳修的“君子人格”论——文道关系中的主体性  

Ouyang Xiu's Theory of“Gentleman's Character”——Subjectivity in the Relationship Between Literature and Dao

作　　者：刘锋杰 Liu Fengjie

机构地区：[1]浙江越秀外国语学院 [2]苏州大学文学院

出　　处：《古代文学理论研究》2024年第2期121-142,共22页Studies of Ancient Chinese Literary Theory

基　　金：国家社科基金重点项目“‘文以载道’观的发生、嬗变与当代价值研究”(18AZW001)阶段性成果之一

摘　　要：继孟子提出“大丈夫”的君子人格论以后,欧阳修清晰地论述了文道关系中的君子人格问题,包括三要点:君子之心——正,君子之愿——达,君子之乐——和。但仅仅论述君子人格,只为创作提供了一般的道德主体,还没有提供独特的审美主体。欧阳修提出“诗穷而后工”解决了这个问题,将君子的道德主体视为追求“能文”的审美主体,把明道的哲学性、思想性、政治性和君子人格的伦理性与创作的审美心理蓄积相结合,揭示了创作的真正奥秘,完成了“文以明道”的审美论述。Building on Mencius's concept of the“great man”,Ouyang Xiu articulates the issue of gentleman's character within the context of the relationship between literature and Dao,highlighting three key aspects:the gentleman's heart—righteousness,the gentleman's aspiration—achievement,and the gentleman's joy—harmony.However,while discussing gentleman's character provides a general moral framework,it fails to establish a distinct aesthetic subject in the creative process.Ouyang Xiu's assertion that“poetry becomes refined only after it is composed”addresses this gap by framing the moral subject as an aesthetic subject in pursuit of“literary skill”.He synthesizes the philosophical,ideological,and political dimensions of illuminating Dao with the ethical essence and accumulated aesthetic psychology of the gentleman,ultimately unveiling the mystery of artistic creation and enriching the discourse of“literature as a means to illuminate Dao”from an aesthetic perspective.

关 键 词：欧阳修 文以明道 君子人格 “诗穷而后工” 审美主体 

分 类 号：I206.2[文学—中国文学]