由“無我之境”到“詩中有畫”：抒情主體之道

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
 在《人間詞話》中，王國維把詩詞的境界分爲有我之境及無我之境兩大類。二者是根據不同的抒情方式及審美經驗對境界所作出的區别，涉及意境中藝術主體與客體的關係、主體在藝術意境中的份量和位置、藝術意境的美感效果等問題。《人間詞話》采用傳統詩話詞話的體式，語焉不詳，復受叔本華美學的影響，帶有移花接木的痕迹，其體系尚未達致完全協調，容易引起各種爭議。藝術邏輯中没有絶對的無我之境；它可説是一個方便對比的速記式假名。本文以爲不必太熱切將叔本華的美學移植到《人間詞話》的架構裏，因爲《人間詞話》的核心美學精神，畢竟立足於中國古典抒情美學的範圍。有我之境和無我之境源自詩詞中一個根本性的美學及哲學課題；本文會從抒情主體及 詩中有畫的角度略陳管見。In Renjian cihua, Wang Guowei differentiates poetic inscape into personal and impersonal inscapes. These are distinguished in terms of lyrical mode and aesthetic experience, involving such factors as the relationship between the artistic subject and object, the weight and position of the subject in the artistic inscape, and its aesthetic effects. Adopting the style of traditional shihua/ cihua remarks, Renjian cihua is pithily written and at times controversially ambiguous, showing transplanted elements of Schopenhauen aesthetics not fully blended into an integral system. In terms of artistic logic, there can be no entirely impersonal poetic inscape; the term is expedient shorthand to sharpen comparison. While acknowledging German influences on Wang, this essay sees no necessity to transplant Schopenhauen aesthetics to Renjian cihua, whose core spirit is ultimately rooted in classical Chinese aesthetics. The question of personal or impersonal inscape stems from a fundamental aesthetic and philosophical issue in classical Chinese poetry; this essay relates the question to the lyrical subject and painterliness in poetry.