神思與靈感：劉勰與柏拉圖創(chuàng)作構(gòu)思論比較

王潔群，胡銀萍

(湘潭大學(xué) 文學(xué)與新聞學(xué)院，湖南 湘潭 411105)

神思與靈感：劉勰與柏拉圖創(chuàng)作構(gòu)思論比較

王潔群，胡銀萍

(湘潭大學(xué) 文學(xué)與新聞學(xué)院，湖南 湘潭 411105)

劉勰以“神思”為代表的創(chuàng)作構(gòu)思論與柏拉圖以“靈感”為代表的創(chuàng)作構(gòu)思論，既有類(lèi)同性也有差異性。類(lèi)同性體現(xiàn)在二者都帶有神秘的理論色彩，強(qiáng)調(diào)作者情感的重要作用；差異性則體現(xiàn)在二者對(duì)創(chuàng)作構(gòu)思來(lái)源、創(chuàng)作構(gòu)思前作者主體的狀態(tài)、創(chuàng)作構(gòu)思過(guò)程中作者主體的狀態(tài)等問(wèn)題的認(rèn)識(shí)有所不同。這也反映出中西文論在審美上的共通性和差異性。

神思；靈感；劉勰；柏拉圖；文學(xué)構(gòu)思

Abstract： As two major creative conceptions in Chinese and western aesthetics, the theory of Thought and the theory of Inspiration, represented by Liu Xie and Plato respectively, have many similarities and differences. For similarities, these two theories are both involved with mysticism, and both emphasize the significance of the author’s emotions. Whereas the differences are mainly derived from their cognitions on the origins of literary creations and conceptions, the author’s state before and during the writing process, etc. By comparing these two theories, it also illustrates the similarities and differences between western and Chinese aesthetics.

Keywords：Thought; Inspiration; Liu Xie; Plato; creative conception

作家如何創(chuàng)造文學(xué)藝術(shù)作品？在創(chuàng)作過(guò)程中，作家是什么樣的狀態(tài)？偉大的、經(jīng)典的作品是如何創(chuàng)作出來(lái)且獨(dú)一無(wú)二的？為什么有作家創(chuàng)作如有神助、出口成章，而有些作家需要冥思苦想、抑郁不已？……古今中外批評(píng)家們給出了各自的答案，諸如陸機(jī)的“物”“意”“文”統(tǒng)一論、華茲華斯的“一切好詩(shī)都是強(qiáng)烈情感的自然流露”[1]等觀點(diǎn)。中國(guó)古代文論家劉勰在《文心雕龍》里提出的“神思”說(shuō)大致可以代表中國(guó)文論對(duì)于創(chuàng)作構(gòu)思的觀點(diǎn)，而柏拉圖提出的“靈感”論則是西方文論里論述創(chuàng)作構(gòu)思最早的代表。從“神思”與“靈感”的審美理論內(nèi)涵出發(fā)，探尋二者的類(lèi)同性與差異性，可以幫助我們了解中西方在文學(xué)構(gòu)思理論方面的審美差異，也能了解文學(xué)構(gòu)思論背后的諸如歷史、民族、文化等多方面的類(lèi)同與差異，有助于我們更深入地進(jìn)行中西美學(xué)之間的對(duì)話。