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中華文化 | 風(fēng)骨 Fenggu,strength of character

發(fā)布日期:2022-04-11??來源:中華思想文化術(shù)語??作者:《中華思想文化術(shù)語》編委會(huì)??瀏覽次數(shù):5473
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核心提示:風(fēng)骨 Fenggu指作品中由純正的思想感情和嚴(yán)密的條理結(jié)構(gòu)所形成的剛健勁拔、具強(qiáng)大藝術(shù)表現(xiàn)力與感染力的神韻風(fēng)貌。其準(zhǔn)確含義學(xué)界爭議較大,但大致可描述為風(fēng)神清朗,骨力勁拔?!帮L(fēng)”側(cè)重指思想情感的表達(dá),要求作品思想純正,氣韻生動(dòng),富有情感;“骨”側(cè)重指作品的骨架、結(jié)構(gòu)及詞句安排,要求作品剛健遒勁、蘊(yùn)含豐富但文辭精練。如果堆砌辭藻,過于雕章琢句,

風(fēng)骨 Fenggu,strength of character

指作品中由純正的思想感情和嚴(yán)密的條理結(jié)構(gòu)所形成的剛健勁拔、具強(qiáng)大藝術(shù)表現(xiàn)力與感染力的神韻風(fēng)貌。其準(zhǔn)確含義學(xué)界爭議較大,但大致可描述為風(fēng)神清朗,骨力勁拔?!帮L(fēng)”側(cè)重指思想情感的表達(dá),要求作品思想純正,氣韻生動(dòng),富有情感;“骨”側(cè)重指作品的骨架、結(jié)構(gòu)及詞句安排,要求作品剛健遒勁、蘊(yùn)含豐富但文辭精練。如果堆砌辭藻,過于雕章琢句,雖然詞句豐富繁多但內(nèi)容很少,則是沒有“骨”;如果表達(dá)艱澀,缺乏情感和生機(jī),則是沒有“風(fēng)”。風(fēng)骨并不排斥文采,而是要和文采配合,才能成就好作品。風(fēng)骨的高下主要取決于創(chuàng)作者的精神風(fēng)貌、品格氣質(zhì)。劉勰《文心雕龍》專門列有《風(fēng)骨》一篇,它是我國古代文學(xué)批評(píng)史上首篇論述文學(xué)風(fēng)格的文章。

This term refers to powerful expressiveness and artistic impact that come from a literary work's purity of thoughts and emotions, as well as from its meticulously crafted structure. Despite some differences in interpreting the term, people tend to agree that fenggu (風(fēng)骨) can be understood as being lucid and fresh in language while sturdy in structure. Feng (風(fēng)) means "style," which emphasizes that a literary work should be based on pure thoughts, vivid impressions, and rich emotions so as to produce an effect of powerful expressiveness. Gu (骨) means "bones" or proper structure, figuratively. It stresses the impact of structure and sentence order, requiring a piece of writing to be robust, vigorous, profound, and yet succinct. If a piece of work is wordy and overly rhetorical but weak in content, then it lacks the impact of a "proper structure," no matter how flowery its expressions are. If such writing is awkward in delivery and has no emotions and vitality, then it lacks expressiveness in "style." Fenggu does not preclude, but rather combines with linguistic elegance in order to create a piece of good work. Good command of fenggu depends on the personality and dispositions of the author. In "The Literary Mind and the Carving of Dragons," Liu Xie devoted a chapter to the discussion of fenggu, which is the first essay on writing style in the history of classical Chinese literary criticism.

引例 Citations:

◎文章須自出機(jī)杼,成一家風(fēng)骨,何能共人同生活也?。ā段簳ぷ娆搨鳌罚?/p>

文章必須有自己的構(gòu)思布局,有自己作品的風(fēng)骨,如何能與他人同一個(gè)層次!

A piece of writing must have its own structure, and its own fenggu, that is, expressiveness in style and sturdiness in structure. How can it ever be the same as the writings of other writers! (The History of Northern Wei)

◎捶字堅(jiān)而難移,結(jié)響凝而不滯,此風(fēng)骨之力也。(劉勰《文心雕龍·風(fēng)骨》)

字句錘煉確切而難以改動(dòng),讀起來聲音凝重有力而不滯澀,這就是風(fēng)骨的魅力。

The charm of fenggu in a literary work derives from deliberate and precise diction that is hard to alter, and from powerful and controlled sounds that do not sound awkward when read out. (Liu Xie: The Literary Mind and the Carving of Dragons)

推薦:教育部 國家語委

供稿:北京外國語大學(xué) 外語教學(xué)與研究出版社

責(zé)任編輯:錢耐安

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