世變下的錢澄之性情詩說——真詩、苦吟與隱秘詩史論

Qian Cheng-Zhi’s Dispositional Poetic Discourse in a Time of Political Changeover: Real Poetry, Bitter Hymns, and a Latent Shishi Discourse

本文由重詮錢澄之性情詩論起始，除擴及對樂、氣韵討論外，再於此顯現之理論基底上，關注其苦吟、詩窮後工的論述，再從田間（錢澄之字）對杜詩的持論裡，突出的「真」之內蘊、復加上其對溫柔敦厚之音的重整，進而闡明他的詩論重心所在──證成錢澄之固無明顯的詩史專論，但他整體詩學型態與詩學理想，本身即顯現為一（隱秘）詩史論。錢澄之被錢謙益稱作「詩史酸辛錢幼光」，大抵田間當時已有詩史之譽；除詩作實踐之外，本文對其性情詩論的釐清，也廓清了其詩論的詩史本采。
田間詩論實屬於儒門一系，立論型態與王夫之頗類；其最大的特點是在性情詩論中重寫「苦吟」、「務去陳言」等論述，將原來落在琢鍊字詞的修辭作為，以「窮而後工」，透過「自反」的修持，通向了性情的精進與修養。一方面，他對明代以降的泛情論有所修正，讓情受到性的約束；其二，錢澄之的性情詩論很好的安頓了「詩言志」中學問的位置，回應彼時對明人空疏不學之批評；其三，他的真詩論裡不再是真與假的對立，進而標舉以詩傳其真，他本意著眼在真詩應該是能讓讀者有「如在目前」的覿面親證；不過，這卻不妨視為一種回應，參與了當時詩壇公共話題詩史的討論。

Qian Qian-Yi once called Qian Cheng-Zhi as “Qian You-guang”, one who endured hardship and toil to make history in poetry”.(詩史酸辛錢幼光) Judging from this comment, literati of the day had already recognized Qian Cheng-Zhi’s works as poetry featuring aesthetic qualities of particular historical value. Nevertheless, it is confusing that, except in his poetry, Qian does not respond to the Shishi discourse. This paper will explore and analyze the poetic discourse of Qian Cheng-zhi and point out that Qian’s redefining and rewriting of “bitter hymns” (elaborating words and anchoring phrases) and “avoiding cliché”: the most distinctive features in his dispositional poetic, had associated what was originally rhetorical to the extent of a poet’s moral advancement and accomplishment. On the one hand, Qian corrects the theory of universal emotion originating from the Ming Dynasty and constrains “emotion” with morals. On the other hand, Qian’s dispositional poetic discourse emphasizes on the importance of scholarship as well and corresponds to the criticism on the ignorance of scholarship in the Ming Dynasty. Finally, Qian’s real poetic discourse no longer sets up the conflict between ingenious and pseudo poetry. Furthermore, his discourse intends to deliver the ingeniousness of poetry (delivering the scene with degrees of reality). Qian’s real intention is to offer ingenuous poetry to readers and provide them with a sense of “right before the eyes” testimony. Yet, one can regard Qian’s discourse as a latent Shishi discourse that corresponds to the public issue of his contemporary poetic scene.