论《苕溪渔隐丛话》所评的含蓄美

On the Subtle Beauty Commended in The Clump Notes Collected by the Fishing Recluse of the Brook Tiao

摘要: 南宋胡仔编纂的《苕溪渔隐丛话》一改此前《诗话总龟》“以事分门”的类书体例，采用“以人为纲、以时为序”的编纂体例，汇录元祐以来诸多文人的诗词学观点，同时融入了胡仔本人的评点。《丛话》也表明了胡仔对古典诗词含蓄美的理解，他认为诗词要承袭楚辞之骚雅，兼顾现实讽谏功用与雅致审美，应留有审美空白，给人阐释的空间。胡仔的品评还以名家诗歌为例，展现出了古典诗歌含蓄美意在言外、善于留白与比兴寄托等形态特征。通过对《丛话》的研究，胡仔明晰了含蓄蕴藉与穿凿附会的边界，却也存在将含蓄美过高定位，研究少新意等局限，但胡仔仍为后世含蓄美的研究留下了独具宋代特色的文献史料。

Abstract: Compiled by Hu Zi of the Southern Song Dynasty, The Clump Notes Collected by the Fishing Recluse of the Brook Tiao broke with the encyclopedic format of The Compilation of Notes on Classical Poetry, which arranged entries “by subject,” and instead adopted a compilation framework “by author and in chronological order,” gathering the views on poetry and ci lyrics of numerous literati since the Yuanyou era while incorporating Hu Zi’s own commentary. The Clump Notes also reveals Hu Zi’s understanding of the subtle beauty found in classical poetry and ci lyrics. He believed that poetry and ci lyrics should inherit the “Sao” and “Ya” styles of the Chu Ci, balancing their practical functions of social commentary and admonition with refined aesthetic appeal, while leaving room for interpretation. Citing the poems of famous masters, Hu Zi’s criticism demonstrates the characteristic forms of implicit beauty in classical poetry—meaning lying beyond the words, adept use of blank space, and the entrustment of feeling through bi-xing (figurative and evocative devices). Through his study of the Clump Notes, Hu Zi drew the line between genuine implicitness and far-fetched interpretation. However, he tended to overrate implicit beauty and offered little new insight in his research. Even so, he left documentary materials of distinctive Song-dynasty character for later studies of implicit beauty.