“听之金声玉振”——谢榛对诗歌音乐美的追求

音乐和诗歌具有天然的联系，音乐性是判断一首诗歌好坏的重要标准。自古以来，诗论家就认识到这一问题，并从多个角度加以阐述，但大多只言片语不成系统。及至明代，茶陵派诗人李东阳以“调”论诗，以“具眼”、“具耳”辨格，诗歌和音乐的关系得到极大的阐发，然其后鲜有系统的论述。嘉隆年间，“后七子”中的谢榛可以说是明代屈指可数的音韵大家，他对诗歌音乐美的重视构成了其论诗的重要一环。在《四溟诗话》中，谢榛主要从三个方面论述了诗歌音乐美的重要意义：音乐美是诗歌不可缺少的审美特征；音乐美对于表情达意有独特作用；以诗歌的音乐美为标准改前人诗歌。

"Golden sound and jade vibration": Xie Zhen's pursuit of musicality in poetry

There＇s a natural relationship between music and poetry. Since ancient times, critics have realized that musicality is an important standard to determine the quality of a poem, and elaborated this from various angles, though not systematically. In Ming Dynasty, Li Dongyang, a poet of Chaling School, proposed to examine a poem from “tunefulness” and called for “sensitive eyes” and “sensitive ears”, which helps further the discussions on the relationship between poetry and music. However, the following generations see few relevant studies until the years of Jialong when Xie Zhen, a member of the so-called “Seven Scholars of the Later Generation” and a rarely gifted master on rhyme, put forward his ideas on the musical beauty of poetry. In his work Sirning Essays on Poetry, Xie Zhen gave his ideas on musicality of poetry from three main aspects： First, musical beauty is an essential aesthetic feature of poetry; secondly, musical beauty is a powerful means of expression; thirdly, the previous poetry can be polished according to the standard of musical beauty.