詩詞(ci)研(yan)究·詩學概念(nian)·用事

與詩(shi)(shi)學有(you)關的(de)(de)(de)古代文(wen)(wen)論(lun)概念。鐘嶸《詩(shi)(shi)品序》：“至乎吟詠情(qing)(qing)性，亦何貴于(yu)用(yong)(yong)(yong)(yong)(yong)(yong)事(shi)(shi)(shi)(shi)(shi)?”“用(yong)(yong)(yong)(yong)(yong)(yong)事(shi)(shi)(shi)(shi)(shi)”就是(shi)(shi)用(yong)(yong)(yong)(yong)(yong)(yong)典。劉勰《文(wen)(wen)心雕龍(long)·事(shi)(shi)(shi)(shi)(shi)類(lei)》篇最早從理論(lun)上對(dui)(dui)用(yong)(yong)(yong)(yong)(yong)(yong)事(shi)(shi)(shi)(shi)(shi)進行(xing)了(le)闡述：“據事(shi)(shi)(shi)(shi)(shi)以(yi)(yi)類(lei)義，援古以(yi)(yi)證(zheng)今。”即借助古代的(de)(de)(de)事(shi)(shi)(shi)(shi)(shi)情(qing)(qing)以(yi)(yi)類(lei)比(bi)映證(zheng)所要(yao)表達的(de)(de)(de)論(lun)題(ti)或事(shi)(shi)(shi)(shi)(shi)物。詩(shi)(shi)歌創作中(zhong)(zhong)運用(yong)(yong)(yong)(yong)(yong)(yong)故事(shi)(shi)(shi)(shi)(shi)，可以(yi)(yi)達到含蓄蘊藉、深沉渾厚的(de)(de)(de)藝術(shu)(shu)效果。王(wang)昌齡(ling)《出(chu)塞》詩(shi)(shi)：“秦時明月漢(han)(han)(han)時關，萬里(li)長征人未還(huan)。但使(shi)龍(long)城飛將在(zai)，不(bu)教(jiao)胡馬度陰山。”詩(shi)(shi)中(zhong)(zhong)巧妙運用(yong)(yong)(yong)(yong)(yong)(yong)了(le)漢(han)(han)(han)代將軍李(li)(li)廣的(de)(de)(de)故事(shi)(shi)(shi)(shi)(shi)，以(yi)(yi)對(dui)(dui)古代人物的(de)(de)(de)景慕反(fan)襯現實中(zhong)(zhong)的(de)(de)(de)缺(que)憾，可謂(wei)“婉而(er)成章(zhang)”，不(bu)致鋒芒畢露。詩(shi)(shi)歌中(zhong)(zhong)的(de)(de)(de)用(yong)(yong)(yong)(yong)(yong)(yong)事(shi)(shi)(shi)(shi)(shi)，還(huan)可以(yi)(yi)烘托氣(qi)氛，熔鑄(zhu)意(yi)境，使(shi)詩(shi)(shi)歌藝術(shu)(shu)形(xing)象更豐(feng)滿感人。辛棄疾《賀新郎·別(bie)茂(mao)嘉十二(er)(er)弟(di)》，王(wang)國維《人間詞(ci)話》評為(wei)“章(zhang)法(fa)絕妙，且語語有(you)境界”，即得(de)力于(yu)詞(ci)中(zhong)(zhong)一連用(yong)(yong)(yong)(yong)(yong)(yong)了(le)四個故事(shi)(shi)(shi)(shi)(shi)。從典故運用(yong)(yong)(yong)(yong)(yong)(yong)的(de)(de)(de)方式，用(yong)(yong)(yong)(yong)(yong)(yong)事(shi)(shi)(shi)(shi)(shi)可分“直(zhi)用(yong)(yong)(yong)(yong)(yong)(yong)”和“反(fan)用(yong)(yong)(yong)(yong)(yong)(yong)”二(er)(er)種。直(zhi)用(yong)(yong)(yong)(yong)(yong)(yong)是(shi)(shi)不(bu)改變故事(shi)(shi)(shi)(shi)(shi)的(de)(de)(de)原來(lai)結構和涵義，“反(fan)用(yong)(yong)(yong)(yong)(yong)(yong)”是(shi)(shi)反(fan)故事(shi)(shi)(shi)(shi)(shi)其(qi)(qi)(qi)義而(er)用(yong)(yong)(yong)(yong)(yong)(yong)之(zhi)(zhi)(zhi)。《出(chu)塞》詩(shi)(shi)中(zhong)(zhong)李(li)(li)廣故事(shi)(shi)(shi)(shi)(shi)，即屬直(zhi)用(yong)(yong)(yong)(yong)(yong)(yong)。李(li)(li)商隱《賈(jia)生》詩(shi)(shi)：“宣室求賢訪逐(zhu)臣，賈(jia)生才調更無倫。可憐夜半虛(xu)前席，不(bu)問(wen)蒼(cang)生問(wen)鬼神。”漢(han)(han)(han)文(wen)(wen)帝(di)(di)召回起用(yong)(yong)(yong)(yong)(yong)(yong)放逐(zhu)長沙的(de)(de)(de)賈(jia)誼，對(dui)(dui)人才重視，這(zhe)是(shi)(shi)故事(shi)(shi)(shi)(shi)(shi)的(de)(de)(de)正面(mian)。李(li)(li)商隱卻(que)從這(zhe)件事(shi)(shi)(shi)(shi)(shi)生發(fa)感慨：漢(han)(han)(han)文(wen)(wen)帝(di)(di)明知賈(jia)生有(you)治國之(zhi)(zhi)(zhi)術(shu)(shu)而(er)不(bu)問(wen)，卻(que)問(wen)起鬼神之(zhi)(zhi)(zhi)事(shi)(shi)(shi)(shi)(shi)。這(zhe)就是(shi)(shi)反(fan)用(yong)(yong)(yong)(yong)(yong)(yong)故事(shi)(shi)(shi)(shi)(shi)。嚴有(you)翼《藝苑雌黃》說(shuo)：“直(zhi)用(yong)(yong)(yong)(yong)(yong)(yong)其(qi)(qi)(qi)事(shi)(shi)(shi)(shi)(shi)，人皆能之(zhi)(zhi)(zhi);反(fan)其(qi)(qi)(qi)意(yi)而(er)用(yong)(yong)(yong)(yong)(yong)(yong)之(zhi)(zhi)(zhi)，非(fei)學業高人，超(chao)越尋常拘攣之(zhi)(zhi)(zhi)見，不(bu)規規然蹈(dao)襲前人陳跡者，何以(yi)(yi)臻此。”詩(shi)(shi)中(zhong)(zhong)是(shi)(shi)否必須用(yong)(yong)(yong)(yong)(yong)(yong)事(shi)(shi)(shi)(shi)(shi)，不(bu)可一概而(er)論(lun)。鐘嶸反(fan)對(dui)(dui)用(yong)(yong)(yong)(yong)(yong)(yong)事(shi)(shi)(shi)(shi)(shi)，是(shi)(shi)針對(dui)(dui)當時任昉(fang)等(deng)作家(jia)動輒用(yong)(yong)(yong)(yong)(yong)(yong)典，“文(wen)(wen)章(zhang)殆(dai)同書鈔”的(de)(de)(de)風氣(qi)說(shuo)的(de)(de)(de)。王(wang)安石曾(ceng)說(shuo)：“詩(shi)(shi)家(jia)病使(shi)事(shi)(shi)(shi)(shi)(shi)太(tai)多，蓋皆取其(qi)(qi)(qi)與題(ti)合者類(lei)之(zhi)(zhi)(zhi)，如此乃(nai)是(shi)(shi)編事(shi)(shi)(shi)(shi)(shi)，雖工(gong)何益? 若能自出(chu)己意(yi)，借事(shi)(shi)(shi)(shi)(shi)以(yi)(yi)相發(fa)明，情(qing)(qing)態中(zhong)(zhong)出(chu)，則(ze)用(yong)(yong)(yong)(yong)(yong)(yong)事(shi)(shi)(shi)(shi)(shi)雖多，亦何所妨。”(《蔡寬(kuan)夫詩(shi)(shi)話》引)詩(shi)(shi)中(zhong)(zhong)用(yong)(yong)(yong)(yong)(yong)(yong)事(shi)(shi)(shi)(shi)(shi)，貴在(zai)自然切當，不(bu)露痕跡，如水中(zhong)(zhong)著鹽，飲水乃(nai)知鹽味，不(bu)可有(you)意(yi)為(wei)之(zhi)(zhi)(zhi)。

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