神韻前史：陸時雍《詩鏡》的杜詩批評與盛唐圖像

Pre-history of “Shenyun Theory”: Lu Shiyong’s Criticism of Du Fu and Great Tang Dynasty Poetry in His Shijing

明代復古派詩號稱宗法盛唐詩歌，實則特尊杜甫。晚明陸時雍《詩鏡》選杜最多，乍看承此潮流，卻特別標舉李白價值，甚至加上王維，構成三家并稱的鼎立之勢。這種觀念，對復古派詩學傳統造成極大的衝擊，同時帶來一種盛唐圖像的重構工程。本文旨在探究陸時雍藉由杜詩批評，重構出何種盛唐圖像，並詮釋箇中隱含的重要意義。為此，本文首先著墨於陸時雍杜詩批評的「雙重基準」，他由「意」與「力」的角度肯定杜詩的獨特價值，卻亦透過「情」與「韻」的角度批判杜詩悖離詩道。李白作為盛唐巔峰詩人，和杜詩最重大的歧異，尚在於前者的表現型態，擅以素淨、含蓄的語言釋放出更豐富的審美趣味，是為「不至而自至之妙」。陸時雍之所以特為王維爭地位，其實也是出於相類的詩學思索。為具體凸顯陸時雍對復古派的衝擊，本文進一步考察「漫興」、「細寫」，此二觀念實能突破復古派耽溺古人法度、追摹宏大格調的迷霧，積極重建詩的抒情性。最後，本文提出「神韻前史」的概念，試圖串連陸時雍大抵可歸入清初王士禛神韻說形成前的歷史系譜、潮流，卻也顯露出此說形成前相關詩學論述的複雜面貌。 Though claiming to model on the poetry in the Great Tang dynasty, the Revivalist School in the Ming dynasty in fact bestowes a disproportionate privilege upon Du Fu. In the anthology Shijing by Lu Shiyong in the late Ming dynasty, Du Fu's poetry occupies the highest percentage - which seems fairly correspondent to the literary trend at that time. The book, however, at the same time stresses the significance of Li Bai and even Wang Wei, forming a critical framework in which the contributions of all the three great poets are equally valued. Such a framework strikes a great blow against the tradition of Revivalist poetics and, simultaneously, triggers a project on the reconstruction of the image of the Great Tang dynasty. This article investigates the image thus reconstructed through Lu Shiyong's criticism of Du Fu's poetry, and also attempts at interpreting the significance implied in this reconstruction. It begins with a discussion on Lu Shiyong's double standard with which he carries out his criticism of Du Fu: on the one hand, he highly values Du's poetry from the perspective of ＂Yi＂ and ＂Li;＂ on the other hand, he also criticizes Du Fu of violating the spirit of poetry in terms of ＂Qing＂ and ＂Yun.＂ In contrast to Du Fu, Li Bai as the leading poet of the Great Tang dynasty is highly skilled in evoking richer aesthetic fascination with a plain and concise idiom - what is called ＂Buzhi er zizhi zhimiao.＂ It is due to the same poetic idea that Lu Shiyong particularly elevates the position of Wang Wei in the history of classical poetry. Finally, this article brings up the concept of a ＂pre-history of Shenyun theory.＂ In doing so, it not only argues that Lu Shiyong in general may be categorized into a genealogy which prefigures Wang Shizhen's ＂Shenyun theory＂ raised at the beginning of the Qing dynasty, but also manifests the complexity of the poetic discourse precedent to the formation of the theory.

Though claiming to model on the poetry in the Great Tang dynasty, the Revivalist School in the Ming dynasty in fact bestowes a disproportionate privilege upon Du Fu. In the anthology Shijing by Lu Shiyong in the late Ming dynasty, Du Fu's poetry occupies the highest percentage - which seems fairly correspondent to the literary trend at that time. The book, however, at the same time stresses the significance of Li Bai and even Wang Wei, forming a critical framework in which the contributions of all the three great poets are equally valued. Such a framework strikes a great blow against the tradition of Revivalist poetics and, simultaneously, triggers a project on the reconstruction of the image of the Great Tang dynasty. This article investigates the image thus reconstructed through Lu Shiyong's criticism of Du Fu's poetry, and also attempts at interpreting the significance implied in this reconstruction. It begins with a discussion on Lu Shiyong's double standard with which he carries out his criticism of Du Fu: on the one hand, he highly values Du's poetry from the perspective of ＂Yi＂ and ＂Li;＂ on the other hand, he also criticizes Du Fu of violating the spirit of poetry in terms of ＂Qing＂ and ＂Yun.＂ In contrast to Du Fu, Li Bai as the leading poet of the Great Tang dynasty is highly skilled in evoking richer aesthetic fascination with a plain and concise idiom - what is called ＂Buzhi er zizhi zhimiao.＂ It is due to the same poetic idea that Lu Shiyong particularly elevates the position of Wang Wei in the history of classical poetry. Finally, this article brings up the concept of a ＂pre-history of Shenyun theory.＂ In doing so, it not only argues that Lu Shiyong in general may be categorized into a genealogy which prefigures Wang Shizhen's ＂Shenyun theory＂ raised at the beginning of the Qing dynasty, but also manifests the complexity of the poetic discourse precedent to the formation of the theory.