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中華文化 | 情兼雅怨
情兼雅怨 A Mixed Quality of Grace and Sorrow
詩(shī)歌既表達(dá)了詩(shī)人的怨苦情感，又不違背雅正的審美標(biāo)準(zhǔn)。這是南朝著名文學(xué)理論家鐘嶸提出的評(píng)判詩(shī)歌好壞的標(biāo)準(zhǔn)之一。鐘嶸從藝術(shù)角度評(píng)價(jià)曹植的詩(shī)“情兼雅怨”，其意強(qiáng)調(diào)詩(shī)歌要抒發(fā)詩(shī)人內(nèi)心的怨苦，但這種情感的宣泄一定要適度，符合雅正標(biāo)準(zhǔn)。對(duì)于“雅怨”的具體解釋?zhuān)瑒t存在不同看法：一種認(rèn)為“雅怨”就是“雅正之怨”，重心在“怨”，說(shuō)曹植的詩(shī)雖然抒發(fā)了受壓抑的怨苦，但詩(shī)風(fēng)溫厚平和，符合“雅”的要求；另一種認(rèn)為“雅”“怨”是并立的概念，說(shuō)曹植的詩(shī)同時(shí)兼有雅正與怨苦兩種藝術(shù)特點(diǎn)。不管哪種理解，鐘嶸的“情兼雅怨”說(shuō)，既是對(duì)陸機(jī)“詩(shī)緣情”理論的發(fā)展，也是對(duì)傳統(tǒng)詩(shī)歌理論“發(fā)乎情，止乎禮義”所作的進(jìn)一步說(shuō)明。
Poetry should express a poet's grief while not violating the aesthetic rule of proper grace. First raised by the renowned Southern Dynasties literary theorist Zhong Rong, this is an important criterion used to judge the merit of poetry. Proceeding from an artistic perspective, Zhong deemed poems by Cao Zhi as "having a mixed quality of grace and sorrow." He stressed that a poet should guard against excess emotion and obey the rule of proper grace. As for how to understand the notion of "graceful sorrow," there are two somewhat different interpretations. According to the first, the emphasis of that notion is on sorrow; namely, Cao's poems seek to voice suppressed grief, despite a restrained, proper style of expression. The second interpretation says that "grace" and "sorrow" here are of equal weight, insisting that Cao's poems are both aggrieved and graceful. No matter what, Zhong's theory enhanced Lu Ji's idea of "poetry as a natural outcome of feelings" to a new level and elaborated on the traditional theory that "feelings should be controlled by ritual propriety."
引例 Citations：
◎魏陳思王植詩(shī)，其源出于國(guó)風(fēng)，骨氣奇高，詞彩華茂，情兼雅怨，體被文質(zhì)，粲溢今古，卓爾不群。（鐘嶸《詩(shī)品》）
魏陳思王曹植的詩(shī)可以溯源于《詩(shī)經(jīng)》中的國(guó)風(fēng)，格調(diào)氣魄極高，文采華麗繁茂，情感兼具雅正與怨苦，文采與內(nèi)容統(tǒng)一，光輝燦爛超越古今，不與眾人為伍。
Poems by Cao Zhi, are profoundly influenced by "Ballads from the States" of The Book of Songs. They are majestic and beautiful in style, with a mixed quality of grace and sorrow. Content and form fit together seamlessly. Cao Zhi thus puts all past poetic endeavors to shame and boasts a remarkable edge over his contemporaries. (Zhong Rong: The Critique of Poetry)
◎《國(guó)風(fēng)》好色而不淫，《小雅》怨誹而不亂，若《離騷》者，可謂兼之矣。（《史記·屈原賈生列傳》）
《國(guó)風(fēng)》雖然描寫(xiě)愛(ài)戀情欲，但是并不放縱；《小雅》雖有怨恨與批評(píng)，但并不煽動(dòng)禍亂。至于屈原的《離騷》，可以說(shuō)兼有《國(guó)風(fēng)》和《小雅》的美。
"Ballads from the States" express passionate love without indulgence. "Minor Court Hymns" make complaints and criticisms without inciting trouble. As for "Li Sao" by Qu Yuan, it combines the aesthetic merits of both "Ballads from the States" and "Minor Court Hymns." (Records of the Historian)
推薦：教育部 國(guó)家語(yǔ)委
供稿：北京外國(guó)語(yǔ)大學(xué) 外語(yǔ)教學(xué)與研究出版社
責(zé)任編輯：錢(qián)耐安
