自然性情的迂回归返 --从王维到苏轼

中国诗歌史上,就儒道释三家与自然山水的亲和程度考稽,当以释家为深,道家次之,儒家又次之.自魏晋诗人"置心天人之际,抗身烟霞之间”始,到王维"尚天人相半,在有意无意之间”,直到诉诸"才学”、"文字”、"议论”的苏轼止,其诗作之所以仍令千载以下的读者动心、动容,就在于其合乎"本心”"本体”的自然和传达、表现得自然.王维与自然的"同一”状态,与自然"打成一片”的圆融浑整,成为一种范本,追攀者认真的"炼饰”、"必须用力”的结果,是后期唐诗的日益人造化.苏轼的"用力”甚或"费力”,则从整体上转换了方式,其善喻、长于状物,亦成为回归自然的有效手段.因而苏诗之于王诗,是一种"诗心”的回归,一种自然性情的迂回归返,所谓"善学唐者莫过于宋”,也正基于此.

The Roundabout Return of Natural Disposition- From Wang Wei to Su Shi

In Chinese poetry history, Buddhism had the closest relation with nature, in terms of their intimate degree. The second was Taoism, and Confucianism was the last, From the Kingdom of Wei & Jin, the poets put their mind between heaven and person, to Wang Wei's upholding half of heaven and person, and between intention and no intention, up to Su Shi's resorting to talents, words and comments. The reason that their poems still move the readers after thousands of years is that these poems conformed to thing-in-itself and display naturally. Wang Wei's identical state to nature became a model of the imitators. They tried to find the exact word earnestly, making the later stage of Tang poetry more artificial. Su Shi's exerting himself or using great effort changed the whole way, he perfected metaphor, and this also became an effective means to return to nature. So the poems from Wang to Su, were a kind of return of poem-mind, and a kind of roundabout turn of natural disposition, the so-called nobody could surpass the Kingdom of Song in learning Tang just because of this.