“言意之辨”与两晋南北朝的拟古诗

面对前代诗歌耸峙的艺术高峰,"后来者能否居上"式的困惑使得两晋南北朝诗人在竭力摹拟前代诗歌的基础上,以期找到一条"能够居上"的道路.魏晋玄学对于"言意之辨"理论的探讨,尤其是王弼"言不尽意"、"得意忘象"解<易>方法的出现,正为拟古诗作的涌现和蔚兴奠定了理论基础.虽然这些作品中不乏名家之作,但作为一种为艺术创新所作的尝试,它付出也必须付出"少有佳作"的代价,即在理论上巨大进步的同时亦导致创作实践上某种程度的退步,创作受到了理论的束缚.因此,两晋南北朝时期的拟古诗不可避免地受到后世诗评家的诟病.这是诗歌自身在其演进的过程中付出的必然代价,是其发展规律所决定的.陆机及其<拟古诗>十二首正是这样的一个典型范例.

Differentiating the Meaning of the Speech and the Poems Modeled after the Ancients of the Two Jing Dynasties and the Northern & Southern Dynasties

Faced with the artistic achievement made in the previous dynasties,the perplexity of whether the latecomers would surpass the old-timers made the poets of the Eastern and the Western Dynasties,and the Northern and Southern Dynasties do their outmost to find the approach to surpassing their seniors on the basis of imitating the poems of the previous dynasties.The probe,made by the metaphysics of Wei and Jing dynasties,into the theory of differentiating the meaning of speech,especially the appearances of approaches to understand "Changes" by means of Wang Bi's "the meaning beyond the speech"and "the meaning superior to the form",laid a theoretical foundation for the rise and prosperity of poems modeled after the ancients.Although among these works,the great ones are not rare,as an attempt made for the artistic innovation,they have paid and have to pay the price of few excellent works,that is ,in theory,great progress has been made,while at the same time in practice,so has retrogress.Creation has been fettered by the theory.Consequently,the poems,which were modeled after the ancients in the Eastern and the Western Dynasties,and the Northern and Southern Dynasties,inevitably become the target of criticism for the poetic critics of later ages.This is the price that poetry has to pay in the process of its evolution,and is also decided by the law of its development.Lu Ji and his twelve "Poems Modeled after Ancients" are good case in point.