張玉榖《古詩賞析》詩法品評之特點及其價值

On the Traits and Values of Zhang Yu-Gu’s Evaluation of Poetry Techniques in Appreciation of Ancient Poems

張玉穀論詩法著重曲折變化，其中又以視角、筆法的闡說較為突出。張評常涉及相異視角及其流轉，點出視角雙重迴還具備增添情意豐厚度的作用，較之沈德潛重視溫厚詩教，張氏更在意文藝技巧與情感本質。張氏筆法論多揭示句首逆筆之「驚心」感；陡收之評常見與前段詩意相反，更顯矯變與震撼盪漾。張評著意空靈有味的美感偏向，能使讀者對靈味有落實、多元的理解，而非虛無與僅止於淡遠餘味。
張氏詩法之評面對貌似無法或少法的唐前古詩時，試圖釐清詩作脈絡，有相對具體闡述情思之功，更因此拓展「渾然天成」認知外之視野。在詩評發展史上，張氏較同樣重視詩法之沈德潛更明確呈現詩人構思，可見清代格調派之推衍；並展現「格調派延續至桐城派」之一隅。

Zhang Yu-Gu’s view about poetry techniques emphasizes twists and turns, in which the explanations of perspectives and writing forms are more noticeable. Zhang’s criticism often involves the transition of different perspectives in poems, and highlight the double circulation of perspectives, which enhances the emotional richness. By contrast with the emphasis of Shen De-qian on gentleness and poetry education, Zhang pays more attention on literary skills and emotional nature. The poetry criticism of inverse, a type of poetry techniques, focuses on first sentences, revealing the tendency of soul-stirring. From the criticism of stopping abruptly, it is often observed to be in stark contrast to the preceding context, appearing more dynamic and filled with reverberating shockwaves. Zhang’s poetry criticism reveals a preference for ethereal and flavorful aesthetics, which enables readers to have a more concrete and diverse understanding of the ethereal and flavorful qualities, rather than being confined to a mere sense of vagueness and lingering aftertaste.
Zhang Yu-Gu’s critiques related to poetics attempt to clarify the creative process behind pre-Tang ancient poems that may appear to lack rules or have no poetry techniques. They serve the purpose of providing relatively concrete explications of emotions and, moreover, expand the horizons beyond the conventional understanding of“innate perfection.”In terms of the development history of poetry criticism, Zhang presents the the poet's conception more explicitly than Shen De-qian, who also values poetic techniques. From this, we can see the derivation of the Ge-Diao School in the Qing Dynasty. This paper can demonstrate part of the development from the Ge-Diao School continues to the Tong-Cheng School