【诗言志】

田牧

 
<p class="MsoNormal" style="TEXT-INDENT: 21.75pt"><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">【诗言志】古代诗学概念。体现了古人对于诗歌的本质特征的认识。语出《尚书·舜典》</span><span lang="EN-US">:"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">诗言志，歌永言，声依永，律和声。</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">近人朱自清《诗言志辨》以为先秦流行的</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">诗言志</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">说，是儒家传统诗论的</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">开山的纲领</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">，产生了深刻的影响。它从文艺主体论出发，概括地说明了诗歌文学表现思想感情的特征。但在先秦时期，这一理论还是比较朦胧的，如《左传·襄公二十七年》记赵文子对叔向称</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">诗以言志</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">，《荀子·儒效》“诗言是其志也”，《庄子·天下》“诗以道志”，所谓</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">言志</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">或</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">道志</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">，意义并不完全一致，也没有作出进一步的解释。发展到汉初，《礼记·乐记》据此发挥，指出诗人所言之志是“感于物而后动”，探讨文艺产生的本原，从文艺主体论进一步探讨创作主客体的关系，涉及到文艺的本体论。《诗大序》又深一层地作具体发挥</span><span lang="EN-US">:"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">诗者，志之所之也，在心为志，发言为诗，情动于中，而形于言。</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">其作者又强调所言之志必须</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">发乎情，止乎礼义</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">，情不能超越封建伦理规范。因而诗歌的政治教化作用很大，</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">先王以是经夫妇，成孝敬，厚人伦，美教化，移风俗。</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">虽然所言之</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">志</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">，与后来陆机《文赋》“诗缘情”说有质的区别，还不是属于纯粹审美的意识，但是，汉人由言志扩大到道情，却开拓了诗人视野，扩大了</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">志</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">的表现范围，其中又提出了</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">情</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">与</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">志</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">的关系新课题。大概经过魏晋南北朝文学自觉意识的冲击，</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">诗言志</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">说在唐宋以降，也日渐增强了它的审美意蕴。如唐孔颖达，虽是经学家，但也解释说</span><span lang="EN-US">:"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">在己为情，情动为志，情志一也。</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">（《左传正义·昭公二十一年疏》</span><span lang="EN-US">)</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">发为情、志统一之说。诗人所言之志，不仅是涉及政治教化的理性规范，而且可以容纳生动的个性化的情感活动。古代文论家常把“言志”与“缘情”二说加以对立，但考其源头，原应是辩证统一的关系。而</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">美教化，移风俗</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">的说法，又从诗歌的认识功能，进一步论其社会教育作用。东汉初班固《汉书·艺文志》据此发挥说</span><span lang="EN-US">:</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">“《书》曰</span><span lang="EN-US">:</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">‘诗言志，砍永言。’故哀乐之心感，而歌咏之声发。诵其言谓之诗，咏其声谓之歌。故古有采诗之官，王者所以观风俗，知得失，自考证也。”这是在</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">诗言志</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">主体意识的基础上，发扬了古代</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">采诗观志</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">的精神，充分发挥了诗歌文学的认识功能和教育作用，从抒发个人情志，进一步要求去反映生活，以便在封建体制中完成能动改造社会的任务。在这里，汉儒已逐渐把传统诗论从主体意识的表现延伸到对于创作客体的探索。但无论是“志”或“情”，都是人的思想感情。社会极为复杂，人的思想感情的抒发及其艺术反馈也就千变万化，各逞异貌。如《礼记·经解》篇有</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">瘟柔敦厚</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">的</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">诗教</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">之说，它是</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">诗言志</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">说众多理论表现形态中影响重大的一种。“温柔敦厚”作为传统</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">诗言志</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">的一个思维模式，要求按照封建统治阶级的要求来</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">发乎情，止乎礼义</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">，限制了诗歌文学反映和批评现实的斗争性。这一理论规范却不可能永远一统诗坛。随着时代的发展进步，</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">诗言志</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">说又被后人赋予新意。传统诗论中的</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">诗言志</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">说之所以源远流长，生命绵延，这种突被与发展所注人的新鲜血掖的奔腾是必不可少的。如唐韩愈的“不平则鸣”</span><span lang="EN-US">(</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">《送孟东野序》之说，认为诗歌所言之志不仅温柔敦厚，逆来顺受，而是标志人的主体意识的觉理，是对社会环境压迫的抗争和呐喊，是诗人干预生活、改造社会并求得内在心理平街的一种特殊需要。后来白居易《与元九书》又以“诗言志”为据，发为“文章合为时而著，歌诗合为事而作”之论，逐渐加强了诗歌文学的批判精神和斗争性，从而把古代的“诗言志”说，发展为富有古典现实主义精神的诗歌理论。而清初黄宗羲《万贞一诗序》，又结合时代斗争，对</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">温柔教厚</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">的“言志”之说作出了全新的解释。他批判了俗儒</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">厌厌无气</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">、“委蛇颓堕”的言志方式，要求诗人</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">怒则掣电流虹，哀则凄楚蕴结，激扬以抵和平</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">，认为这才是真正的</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">温柔教厚</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">。这一新说，虽然并不符合汉儒原意，但新思维拓宽了</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">诗言志</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">说的理论视野，并赋予了新的审美活力。可惜直到晚清，仍然是汉儒所称</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">温柔敦厚</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">式的</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">诗言志</span><span lang="EN-US">"</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">说统治传统诗坛。</span><span lang="EN-US">(</span><span style="FONT-FAMILY: 宋体; mso-ascii-font-family: 'Times New="New"  Roman'; mso-hansi-font-family: 'Times New="New"  Roman'">蒋凡</span><span lang="EN-US">)</span></p>
<p>&nbsp;</p>
<p>摘自《中国诗学大辞典》</p>

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窑州散人

红楼过去有藏经阁很好，现在还是应当开辟的，象这些理论文章归结一起，对于写作和认识诗歌，都有一定教益。

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田牧

中诗网的长处是后气氛好，短处是网速慢，且不稳定。以前的许多资料都没了。

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秋山道人

<div class="msgheader">QUOTE:</div><div class="msgborder"><b>以下是引用<i>窑州散人</i>在2008-11-23 23:37:00的发言：</b><br/>红楼过去有藏经阁很好，现在还是应当开辟的，象这些理论文章归结一起，对于写作和认识诗歌，都有一定教益。 </div>
<p>是啊。建议重开藏经阁。</p>

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