朱光潜关于解诗与欣赏思想的阐释

朱光潜从美学和心理学的视角,进入诗的阅读与接受、理解与欣赏的多方面思考,已经成为中国现代解诗学思想一份重要的精神遗产。他主张“诗不能用另一套语言去解释”,却又肯定小泉八云《文学导解》里的文本细读批评方法,这种悖论现象的深层原因是,一方面他认为“在粗浅的境界我们都是兄弟,在微妙的境界我们都是秦越。曲愈高,和愈寡,这是心灵交通的公例”,要完全消除解诗过程中心灵深处美学上的隔膜, 达到“彻底了解”,几乎是不可能的;另一方面,他又大量地论述了诗的不可解性与相对的可解性的矛盾,并且相信能够在一种由“心灵的渗透”所产生的“经验重合”的思想中得到和谐一致的解决。基于这样的思想,在进入诗阅读的技术层面,他强调了两个思想:一是读难懂的诗,最重要的是要了解它的“背景”和“本事”,提高接受和感悟复杂文本的能力,完成对于作品的再创造。二是诗的接受和欣赏的成功与否,应看能否把“距离的矛盾”安排妥当,通过想象和联想看出事物、意象、词语之间所隐藏的巧妙关联,乃是接受复杂文本的一个最好途径。

Zhu Guangqian on Hermeneutics and Appreciation of poetry

Zhu Cuangqian's appreciation and interpretation of poetry is embedded in his unique view of aesthetics and psychology. He agreed with the critical method of close reading expounded by Lafcadio Hearn (Koizumi Yaku-mo) in his "A Guide to the Interpretation of Literature," although he claimed "Poems could never be deciphered with non - poetic language ". Zhu believes that "we can know each other only on the surface, while we can not understand the depth and subtlety of each other's world. The more elegant one's expression is, the less likely one will be appreciated. That is a common rule with regard to the soul - communication". It is almost impossible to cross the gulf between two different souls and achieve the goal of "completely understanding" when deciphering poems for aesthetic appreciation. Zhu also goes into detail in his discussion of the contradictions between what is incomprehensible and what is relatively comprehensible. He believes that the contradiction can be transformed into a harmonious resolution with an understanding of "experiential superposition" and "soul - penetration" . Firstly, in order to grasp the meaning of a recondite poem, it is essential that one knows its "background" and "origin," and one is willing to enhance the ability for apperceiving complex texts for the purpose of receptive recreation. Secondly, to what extent one can receive and appreciate a poem relies on how well one can resolve the "antinomy of distance." The best way to appreciate a complex text is to see, with one's imagination and free association, the subtle relations among object, image, and words.