钟嵘的诗歌批评与诗学思想

钟嵘诗歌批评的基本思路是认为当下诗坛问题很严重,公认的大师并不高明,时人取法乎中,仅得其下;而创作队伍的急剧扩大,则造成了水平的普遍下降。解决问题的出路在于向历史上优秀的诗人学习。钟嵘对于以谢Zao、沈约为重要代表的“永明体”的两大特色：讲究声律和追求警句都有相当的保留,对他们通俗化的倾向也不以为然。对于当代诗人热哀模仿的鲍照,钟嵘作了一分为二,不赞成他“俗”的一面。钟嵘提倡高雅的审美趣味,主张兼用赋比兴而以比兴为主,以达成“风力”与“丹彩”的结合。

On ZHONG Rong's Poetic Criticism and Thought

ZHONG Rong's view on poetic criticism suggests that there exists certain unhealthy phenomenon in the circle of contemporary poets. That is, the acknowledged masters are by no means good examples for those who wanted to improve their writing skills, and the rapid increase of poetry writers would naturally result in general degradation in writing. The way out is to emulate outstanding poets in the past. ZHONG Rong treated with reservation the pursuit of rhyme and aphorism, two characteristics of "Yongmin Style" represented by XIE Tiao and SHEN Yue, and he did not think too much of their popular orientation. Neither did he appreciate the lowbrow of BAO Zhao, who was imitated by a great number of contemporary poets. What ZHONG Rong advocated is a highbrow aesthetic taste and the employment of fu (ode), bi (metaphor in poetry) and xing (poetic mood), with emphasis on the latter two types of writing styles, in order to achieve the combination of "fengli" and "dancai".