不黏不脱,不即不离 – Chinese philosophy and culture

0
118
Listen to this article

bù nián bù tuō, bù jí bù lí 不黏不脱,不即不离

Neither Obsessed with nor Detached from the Objects Depicted

指诗歌的咏物不可太执著于物本身,应当既不黏滞又不脱落,既不太过接近又不完全离开。“不黏不脱,不即不离”包含两方面的内容:一指作品所使用的语言、意象等与所咏对象的关系,一指作品的主题与所咏对象的关系。它强调,如果用语太过切近,作品就缺乏味道,粘皮带骨,但如果不切题,又难免捕风捉影,过于浮泛。除了体物的要求,咏物诗还有寓意寄托的要求,寄托之意不能勉强,否则就落入教条。传神写意在微妙的离合之间,才能创作出好的咏物作品。

In writing poetry, poets should neither totally adhere to nor digress too much from the objects depicted. This term includes two aspects: the relationship between words, images and the objects depicted, and the relationship between the poem’s theme and the objects depicted. It emphasizes that if the objects depicted resemble the subject too closely, the poem will sound insipid and mundane; but if the objects depicted are too detached from the subject, the poem will sound superficial and farfetched. In addition to the requirement of depicting objects, odes to objects should also convey implied meaning which cannot be forced. Otherwise, they will quite likely fall into a stereotype. Only when a proper balance is achieved between the depiction of objects and its implied sentiment can excellent odes to objects be produced.

引例 Citations:

◎咏物诗难在不脱不粘,自然奇雅。(袁枚《随园诗话补遗》卷六)

(咏物诗创作的难处在于既不脱离又不黏滞,自然奇妙雅致。)

The difficulty of writing odes to objects lies in how to avoid both excessive adherence to and total detachment from the objects depicted. A poem thus created will be marvelous, natural and elegant. (Yuan Mei: Addendum to Suiyuan Remarks on Poetry)

◎咏物之作,须如禅家所谓不黏不脱,不即不离,乃为上乘。古今咏梅花者多矣,林和靖“暗香”“疏影”之句,独有千古,山谷谓不如“雪后园林才半树,水边篱落忽横枝”;而坡公“竹外一枝斜更好”,识者以为文外独绝,此其故可为解人道耳。(王士禛《跋门人黄从生梅花诗》)

(咏物的作品,应当如禅宗所说既不黏滞又不脱落,既不太过接近又不完全离开,才是最好的。从古至今吟咏梅花的诗太多了,林和靖“暗香”“疏影”的句子,独特美好千年流传,黄山谷说不如“雪后园林才半树,水边篱落忽横枝”;而苏东坡“竹外一枝斜更好”,有见识的人认为那是东坡文章之外独特高绝的地方,这其中的缘故只可和懂得诗歌的人讲说。)

The best odes to objects, according to Zen philosophy, should not resemble real-life objects too closely nor be totally detached from them. There have been many poems depicting plum blossoms since ancient times. For example, Lin Hejing’s poetic terms like “subtle fragrance” and “scattered shadows” of plum blossoms have been passed on over centuries, but Huang Shangu remarked that they were not so good as Lin’s other lines: “A garden of half-blossomed plums after the wintry snow, a slanting twig visible over the fence by the riverside.” Insightful people believe that Su Shi’s poetic line “Miraculous is the single twig slanting out of the bamboo grove” is unrivalled and that only those who really know how to appreciate poetry understand why this is so. (Wang Shizhen: A Postscript to “The Plum Blossom Ode by Huang Congsheng”)

Rate this post

LEAVE A REPLY

Please enter your comment!
Please enter your name here