試析況周頤《蕙風詞話》之重拙大理論

Explanation of Kuang Zhouyi's Theory of Poetry-Zhong and Zhuo and Da

況周頤《蕙風詞話》中重拙大的理論，學者有以為是論詞的審美尺度、詞的境界、風格等多種不同的看法。但若審視況氏弟子趙尊嶽的詞論，便可發現重拙大主要當從詞的用筆來立論的。筆者循況氏的理論脈絡，將重拙大區分為內在情感及外在用筆兩層，且三者具有一貫相通之處。就內在情感而言，「重」要求「情真理足」，付出」有「真率」、「鬱勃久之，有不得已者出乎其中」的癡心，「大」涵蓋了由「性靈肺腑中流出」的「至真之情」，有一往情深、盡其在我的無怨，三者歸結於「真」字，故況周頤言「真字是詞骨」。就外在用筆而言，「重」指「純任自然，不假錘鍊」，「拙」指「不拙不率」、「妙造自然」，「大」有渾成樸厚的意味，三者一本於「自然」，故況周頤言「填詞之難，造句要自然，又要未經前人說過」。重拙大理論的提出，為針眨浙派纖巧浮薄之弊，以及常州派過重比興寄託而缺乏真意之病，乃針對當時詞壇缺失，所提出的補弊救偏的解決之道。

There are different interpretation for Kuang Zhouyi's theory of poetry- zhong and zhuo and da by some scholars. Kuang Zhouyi had his aesthetic theory of three qualities: 'zhong (重, stateliness and deepness),' 'zhuo (拙, guilelessness and unadornedness),' and 'da (大, boundlessness and completeness)'. By my research, the Kuang Zhouyi's theory of poetry should be divided into two parts, one is inner feeling and the other is writing skills. In order to readdress the style of the Western Zejiang School (浙西派) which excessively cultivated refining their writing skills, Kuang brought to attention the importance of one's inner feelings and the writing skills to express them.