从《诗论》看朱光潜思想的显与隐

The Manifest and Latent Aspects of Zhu Guangqia’s Thought as Seen in On Poetry

Zhu Guangqian once stated that his book On Poetry was the work he valued the most. In it, he attempted to apply Western aesthetic theories to the study of classical Chinese poetry. He pointed out that the research on Chinese poetics suffered from being fragmented, unsystematic, and lacking in scientific rigor and methodology. Consequently, he sought to uncover the principles underlying classical Chinese poetry through the lens of Western aesthetics. Essentially, this represents Zhu Guangqian’s effort to systematize and clarify traditional Chinese poetry using Western theoretical frameworks after completing The Psychology of Art and Literature. It also reflects his endeavor to integrate Chinese and Western aesthetics. Since Chinese poetry is fundamentally based on “artistic conception,” with its soul deriving from the creation of poetic imagery, analyzing how Zhu Guangqian interpreted the “artistic conception” of Chinese poetry through Western aesthetics becomes a key to understanding his thought.

朱光潜说过他最看重的《诗论》这本书，在这本书中，他企图用西方的美学理论研究中国的古典诗歌。他指出中国诗学研究存在的问题是凌乱琐碎、不成系统，缺乏科学的精神和方法，因此他试图用西方的美学寻绎出中国的古典诗歌的规律。这实际上是朱光潜先生在写完《文艺心理学》之后以西方的系统理路对中国传统诗歌的梳理和澄清，也是朱光潜先生融合中西美学的一次努力和尝试，中国诗歌以“境界”为基，诗歌的灵魂来自诗境的营造，因此，分析和研究朱光潜是如何以西方美学阐释中国诗歌的“境界”，成为打开朱光潜思想的一把钥匙。