意境诗的形成、演变和解体——兼论新诗不是意境诗

意境美是在中国古代诗歌发展过程中逐渐形成和演变的。意境的原初义是生于象外的"真意之境",其中包含着宇宙和人生的先验的真谛;它滥觞于魏晋时代的言、象、意之辨,并接受了佛禅之境的影响。意境的引申义是"情景交融之境",其极致是"妙合无垠"。意境的引申义逐渐压倒了原初义而广为流行,这种演变反映了古代诗歌创作面貌的变化。"真意之境"多见于唐诗,尤以孟浩然、王维等山水田园诗人的作品最为突出。"情景交融之境"多见于宋词,豪放派的苏轼和婉约派的李清照等皆有典范之作。元明散曲开始放松对意境的追求,转而注重俚俗化的明快和风趣。清末梁启超、王国维的意境说标志着古典意境说的终结。梁启超提倡的"新意境"主要是指西方传入的近代物质文明和精神文明,远离了意境的原初义和引申义。王国维在承先启后的意境说的系统建构中也显出难以避免的尴尬。新诗诞生初期以直抒胸臆方式表达现代知识分子的思想感情,宣告意境诗的解体。新诗的基本发展趋势是现代意象诗的建构。现代意象诗以突出诗人的自我意识为核心,在总体上与古典意境诗大异其趣。但意境美仍应加以继承,作为现代诗美的构成因素之一。

The Formation,Evolution and Disintegration of Poetry with Artistic Conception-- With Argument that New Poetry Is Not Poetry with Artistic Conception

Beauty of artistic conception gradually came into being and evolvedduring the development of Chinese ancient poetry.The original meaning of artisticconception is the "realm of true conception",often seen in Tang poems,drivingfrom beyond presence,and the extended meaning is the "state of feelings andcircumstances integrated" often seen in Song poems.Non-dramatic songs in Yuanand Ming dynasties began to dim the pursuit for artistic conception but to focuson vulgar delight and humor.The theories of Liang Qichao and Wang Guowei in lateQing Dynasty declared the termination of the theory of classical artisticconception.New poetry,at the beginning of its birth,freely expressed the mindand emotions of modern intellectuals and announced the disintegration of poetrywith artistic conception.The basic tendency of new poetry is the structure ofmodern imagery poetry which,obviously differing from classical poetry withartistic conception,bears the core of showing poet's own conception.Yet beautyof artistic conception should still be carried forward as one of the factorsconstituting the beauty of modern poetry.