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一次,重读清朝文论家叶燮的《原诗》,有这样一段话引起了我的注意:“总之,后人无前人,何以有其端绪;前人无后人,何以竞其引申乎?譬诸地之生木然:《三百篇》则其根;苏李诗,则其萌芽由蘖;建安诗,则生长至于拱把;六朝诗,则有枝叶;唐诗,则枝叶垂荫;宋诗,则能开花,而木之能事方毕。”这是用树木生长过程来比喻中国诗歌发展历程,觉得颇为新鲜。后来,加以留心,发现在古代中国浩如烟海的文论著述中,散见着许多与此相似的话语,以植物来比喻有关的文艺理论问题。
At one time, rereading the “original poem” of Ye Xie, a literary critic of Qing dynasty, there was such a remark that caught my attention: “In short, there are no predecessors and no endorsements of their descendants; Some examples are simply: ”Three hundred“ is its root; Su Li poetry, then the bud by the tiller; Jian’an poetry, then the growth of the arch; Six Dynasty poetry, there are branches and leaves; Song poetry, then flowering, and the wood can accomplish. ”This is the process of tree growth to describe the development of Chinese poetry, I feel quite fresh. Later, we should be careful to find that there are many similar discourses scattered in literary works published in ancient China, using plants to describe the issues of literary theory.