略論《冷邸小言》中的創作觀與詩法觀

A Brief Discussion on the Creation and Poetry Ideas in “Lengdi Xiaoyan＂

就目前的研究現狀而言，明代詩話還存有較大的討論空間。晚明文學家鄧雲霄的《冷邸小言》便是尚未得到較多關注的一本。在《冷邸小言》中，鄧雲霄吸收了嚴羽「詩有別材」的觀點，在創作觀上，認為創作者應當走向「置身仙掌」和「濯魄冰壺」的境地，並轉學多師，才可成為詩之最上者。而在詩歌典範上，鄧雲霄運用了堪輿家、書法家、兵家的術語及方法論，意在說明詩歌的起伏節奏、前後疏密、用典對偶該如何把握，此外，對於特定的題材，他也提出了自己的一家之見，如律詩的「三義」、送別詩的「四忌」等。總體而言，就創作觀和詩法觀來說，在《冷邸小言》中，鄧雲霄為我們提供了以他的審美觀為基礎的詩歌規範，也為世人評判古典詩歌提供了更多美學標準和思考方向。

As far as the current research is concerned, studies of discourses on poets and poetry of Ming Dynasty haven't been fully preceded. Lengdi Xiaoyan written by Deng Yunxiao, a litterateur of late Ming Dynasty is one that has not received much attention by the academia so far. In Lengdi Xiaoyan, Deng adheres to Yan Yu's opinion that poets should have unique talents for poetry composition. Therefore, he believes that only when poets have vision of prospect and learn from masters of different fields can they produces first-class work. When it comes to poetry models, Deng adopts the terms and methodology of geomancer, calligraphers, and military strategists to illustrate how to deal with poetic tonality, sentence patterns, antithesis and allusions. In addition, he puts forward his own opinions on some specific poems. For instance, poets should comply with rules of the law, the discipline, and the tonality in regulated verse. Meanwhile, Deng suggests that names, official positions, place names, and promotion must not be mentioned between the lines of farewell poems. All in all, in terms of the concepts of poetic composition and methods, Deng provides us with poetic norms based on his aesthetics, aesthetic standards and thoughts for analysis and judgment of classical poetry.