回答JKC10 Comments on 苏轼《江城子·密州出猎》读议

 

 

回答JKC10 Comments on 苏轼《江城子·密州出猎》读议

 

 

这样当回事地谈，很觉着份量。

 

中国的文章和诗词，五四前是一段，之后是另一段。我说的是五四前的那段。

 

小说散文等文学概念是由欧美日传入中国的。没有逻辑学和在逻辑的伦理学，不会有自觉意义上的文学审美意识。中国没有。五四后，中国人用进口的这些，总结出中国的文学。

 

激动等导致的诗文写作，是文学。诗言志和文以载道之下，也会产生激动，譬如家国情怀等等。我要说的是这种情怀在中国文学中几乎涵盖了一切，它使得中国的文学直至五四，几乎停滞。

 

另，这种文学，几乎与活人的灵魂无关。鲁迅有言：“【 我】看中国书时，总觉得就沉静下去，与实人生离开；读外国书——但除了印度——时，往往就与人生接触，想做点事。

中国书虽有劝人入世的话，也多是僵尸的乐观；外国书即使是颓唐和厌世的，但却是活人的颓唐和厌世。”深以为然。

 

“豪放派”们的东西，往往正是这类东西。

 

中国的文章与“豪放派”者流的种种，往往是种假关怀，假情绪，假思考。渔樵之于屈原之劝所谓“众浊浊？你独醒？”（意思），其实是要把他从假关怀中拉进切实的人生关怀；“思无邪”的角度太大，走向扯；”巧笑倩兮，美目盼兮”才是寻常要说要看的；“壮志饥餐胡虏肉”是出门才能喊的口号，“唤起两眸清炯炯”是到哪儿也不减的记忆；“雄纠纠气昂昂跨过鸭绿江”““红雨随心翻作浪”“我哭豺狼笑”至“今天过上好日子”“难忘今宵”，都是程度不同的哈巴狗朝着城墙叫，哪块城砖昰你的”的假激动。

 

诗庄词媚，诗之庄，说成诗之装，有点过，但也不是空穴来风；词之媚，是人的“山是眉峰聚，水是眼波横”，就是想歪了，想荡了，还是。

 

都说诗是词之源，看上去，真是。细了想，该涗成诗是词的绊才对。假关怀，假情绪，假思考至李清照等，才被剥落，还原成真。

 

总之，激动，有质量的差异。在所读过的清以前的文字中，还觉得，激幼还有不同程度的真假差异。所写的苏词读议贴，不过想说点这上面的话。

 

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 文学so many times. From your writing, I guess you actually mean the art form of 文学，because文学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婉约派. But苏轼 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苏轼《江城子·密州出猎》, 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.