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本文以钟嵘对陶渊明的评论为核心,并从中古时代的家族史和选官制度的视角出发,对钟嵘品评陶渊明涉及的文学与非文学因素加以论析,指出钟嵘《诗品》“A源于B,B源于C,C源于D”式的理论表述,正是着眼于古典诗人的互文性建构而对其所进行的互文性解构。如果我们把萧梁以前我国的五言诗发展史视为一座颇具历史纵深的结构复杂的巨型建筑的话,那么,钟嵘《诗品》所做的工作就是为我们绘出了这座巨型建筑的结构图,尽管当时的诗人们遗留给我们的是一些作品的断壁残垣和吉光片羽,但在互文性的观照下,我们仍然看清了钟嵘的意旨和《诗品》的妙理。而由此切入《诗品》迷人的诗学世界,我们对钟嵘那极富天才性的理论创造无疑将会产生全新的认识。本文是对钟嵘《诗品》“历史批评法”或称“推源溯流”法的全新解说。
This article takes Zhong Rong’s comment on Tao Yuanming as the core and analyzes the literary and non-literary factors involved in Zhong Rong’s evaluation of Tao Yuanming from the perspective of family history and election system in medieval times. It points out that Zhong Rong’s “poetry” “A from B, B from C, C from D ” type of theoretical expression, it is the focus on the construction of intertextuality of the classical poet and its intertextual deconstruction. If we consider Xiao Liang’s history of the development of five-character poems in our country as a giant complex with historical depths, then the work Zhong Rong’s “Shi Pin” is to draw the structure of this giant building for us Although the poets left behind at that time were the ruins of the works and the jinguang film feathers left by us, we can still see the essence of Zhong Rong and the good works of Shi Shi under the intertextuality. And thus cut into the “Poetic” charming poetic world, we Zhongrong that very creative genius theory will undoubtedly produce a new understanding. This article is a new explanation of Zhong Rong’s “Shi Pin” “History Criticism ” or “Push the source ” law.