純粹與含蓄：臺灣「神韻」系譜詩論中的兩種詮釋向度

Purity and Implicitness: The Two Interpretive Dimensions of the Poetics of "Spiritual Resonance" in Taiwan

張豔(Yan Zhang)

王夢鷗 ； 蔡英俊 ； 神韻 ； 美學 ； 倫理學 ； Wang Meng-ou ； Cai Yingjun ； poetics of "spiritual resonance" ； aesthetics ； ethics

清華中文學報

29期（2023 / 06 / 01）

283 - 320

繁體中文;英文

王夢鷗教授突破傳統「神韻」系譜詩論研究模式，從情感內容及表現形式兩個相輔相成的面向，探討「神韻」系譜詩論如何彰顯「純粹性」極致價值，賦予古典詩論以現代意義。蔡英俊教授則從「意在言外」的用言方式與「含蓄」美典理念闡釋「神韻」系譜詩論意涵。兩位學者分別以「純粹性」與「含蓄」美典，揭示「神韻」系譜詩論提倡的超離現實的語言形式與情感內容如何引發美感。然而「含蓄」美典也涵蓋寄寓現實政治意義的「寄託」說，王氏、蔡氏的「神韻」論述在此產生分歧。他們對美學與倫理學關係的看法也不同，王氏於美與倫理之間堅持美的優先性，但也肯定二者在提昇的層面可能共存。蔡氏認為「神韻」思想極易演變為唯美主義，從而引發道德焦慮。雖然，美感經驗與道德倫理的二元對立在昇華的境界被消解，「神韻」說對美感的重視並不與生命的安頓、存在意義的探求衝突。王氏、蔡氏以融匯中西的深厚學養，從美學與倫理學兩種詮釋向度闡發「神韻」系譜詩論內涵，雖有分歧，但最終殊途同歸，並對臺灣「神韻」研究產生深刻影響。中國詩歌傳統中美學議題與道德議題對話的多種可能性，亦在他們自美學與倫理學向度對「神韻」系譜詩論的詮釋中得以呈現。

Wang Meng-ou broke through the traditional way of researching the poetics of "spiritual resonance," and demonstrated how this poetics exemplified the ultimate pursuit of "purity" via the two complementary aspects of emotional content and its expression, thereby imbuing classical poetics with modern significance. Cai Yingjun constructed theories of "meaning beyond words" and "implicitness" to interpret the poetics of "spiritual resonance." Both Wang's theory of "purity" and Cai's theory of "implicitness" focus on illustrating how expressive forms and the emotions implied thereby as advocated by the poetics of "spiritual resonance" transcend reality and induce aesthetic experience. "Spiritual resonance" theory is a key component of the aesthetics of "implicitness," but the latter also includes the theory of "embodiment." Therefore, Cai's theory differs from Wang's, which only considers the poetics of "spiritual resonance" as literature's ultimate pursuit. These two scholars also evaluated the poetics of "spiritual resonance" using different perspectives on the relationship between aesthetics and ethics; they consequently drew different conclusions. Wang believed that aesthetics took precedence over ethics; however, he also felt that ethical considerations could coexist with aesthetics on an elevated level. Cai claimed that traditional narrative insisted on the priority of ethics, and that the poetics of "spiritual resonance" too easily led to "aestheticism," which could cause ethical concerns. However, on a vista elevated above the real world, the binary opposition between aesthetics and ethics could vanish, an emphasis on aesthetics as advocated by the poetics of "spiritual resonance" thus did not necessarily conflict with the pursuit of ethical inspirations and the meaning of life. Wang and Cai applied their extensive knowledge of Chinese and Western literature and philosophy and expounded upon the significance of the poetics of "spiritual resonance" from two dimensions, aesthetics and ethics. Their research findings differ in certain respects, but they ultimately reached the same goal via by different paths, exerting a profound impact on the field. Various possibilities existing in the dialogue between aesthetics and ethics in the Chinese poetic tradition are realized by these two scholars' interpretation of the poetics of "spiritual resonance."

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