回答JKC10 Comments on 蘇軾《江城子·密州出獵》讀議

 

 

回答JKC10 Comments on 蘇軾《江城子·密州出獵》讀議

 

 

這樣當回事地談，很覺著份量。

 

中國的文章和詩詞，五四前是一段，之後是另一段。我說的是五四前的那段。

 

小說散文等文學概念是由歐美日傳入中國的。沒有邏輯學和在邏輯的倫理學，不會有自覺意義上的文學審美意識。中國沒有。五四後，中國人用進口的這些，總結出中國的文學。

 

激動等導致的詩文寫作，是文學。詩言誌和文以載道之下，也會產生激動，譬如家國情懷等等。我要說的是這種情懷在中國文學中幾乎涵蓋了一切，它使得中國的文學直至五四，幾乎停滯。

 

另，這種文學，幾乎與活人的靈魂無關。魯迅有言：“【 我】看中國書時，總覺得就沉靜下去，與實人生離開；讀外國書——但除了印度——時，往往就與人生接觸，想做點事。

中國書雖有勸人入世的話，也多是僵屍的樂觀；外國書即使是頹唐和厭世的，但卻是活人的頹唐和厭世。”深以為然。

 

“豪放派”們的東西，往往正是這類東西。

 

中國的文章與“豪放派”者流的種種，往往是種假關懷，假情緒，假思考。漁樵之於屈原之勸所謂“眾濁濁？你獨醒？”（意思），其實是要把他從假關懷中拉進切實的人生關懷；“思無邪”的角度太大，走向扯；”巧笑倩兮，美目盼兮”才是尋常要說要看的；“壯誌饑餐胡虜肉”是出門才能喊的口號，“喚起兩眸清炯炯”是到哪兒也不減的記憶；“雄糾糾氣昂昂跨過鴨綠江”““紅雨隨心翻作浪”“我哭豺狼笑”至“今天過上好日子”“難忘今宵”，都是程度不同的哈巴狗朝著城牆叫，哪塊城磚昰你的”的假激動。

 

詩莊詞媚，詩之莊，說成詩之裝，有點過，但也不是空穴來風；詞之媚，是人的“山是眉峰聚，水是眼波橫”，就是想歪了，想蕩了，還是。

 

都說詩是詞之源，看上去，真是。細了想，該涗成詩是詞的絆才對。假關懷，假情緒，假思考至李清照等，才被剝落，還原成真。

 

總之，激動，有質量的差異。在所讀過的清以前的文字中，還覺得，激幼還有不同程度的真假差異。所寫的蘇詞讀議貼，不過想說點這上麵的話。

 

安祝！

 

附JKC文如下：

 

     You did make some interesting, insightful comments on poems, which I appreciated, but there is something I feel like you went too far to emphasize just one form art and could not appreciate other forms. You mentioned the word 文學so many times. From your writing, I guess you actually mean the art form of 文學，because文學is such a broad collection of so many different types of writing, from memoir to poetry.

Art is “intended to be appreciated primarily for their beauty or emotional power” (From Wiki). It does not mean there is only one way of art expression in poetry. Actually, ANY form of writing in poetry is a true art expression, as long as it produces such a beauty or emotional power in readers. 李清照 is an outstanding poet and a leading figure of婉約派. But蘇軾 has another way of art expression or representation, and many of his poems have been producing such a long lasting emotional power in readers of so many generations which might be different from that of李清照. Maybe his core readers are quite a bit different from those of李清照, but how can you decide that the power of his art form is less than that of 李清照? For instance, Von Gosh’s style is so different from印象派, and so many of his contemporaries simply did not think highly of and appreciate his style. But the emotional power from his painting proves much powerful in some way. You are entitled to have your preference and opinion, but Art representations are very diverse, and we should not drive ourselves into a trap where we can only have a tunnel view.  

In terms of蘇軾《江城子·密州出獵》, what do you expect how he wrote this poem? Use the style of李清照? Or did not write it at all? You have to take what the situation gives you and do your best if you have to do it. He did it his way, and so many readers appreciate it, which proves its extraordinary emotional power, and so he made HIS contribution to literature.