刘勰的"庄老告退, 而山水方滋"说, 不仅凸显了玄言诗与山水诗的内在张力, 更蕴含着对于诗歌本质论和文学新变论的"价值判断".其隐而未彰的意涵是:东晋以来, 以"庄老"玄理入诗的风气, 阻断了诗歌言志、缘情、比兴、寄托之通道, 使诗歌陷入"理过其辞, 淡乎寡味"的窠臼中而不得舒展.而刘宋初年山水诗的兴起, 正是摆脱了玄言诗的玄虚枯淡之弊, 才终于接通了诗歌之"情志""兴寄"的千年传统, 从而使诗歌创作获得了焕然一新的面貌和滋润活泼之生机.遗憾的是, 刘勰基于儒家诗学和美学立场的这一论说, 却长期有意无意地被误读和遮蔽了.实际上, 六朝山水审美及山水诗的勃兴, 固然与道、佛思想不无关系, 却更是儒家"山水比德"观念、诗骚精神和兴寄传统长期浸润的结果.而刘宋初年儒学思潮的回归, 无疑对山水诗的兴起起到了重要的推动作用.%Liu Xie's argument that"[Poems about]mountain and water have become popular after the school of Zhuang Zi and Lao Zi retreated"not only strongly mirrors the internal power of the poetry of Xuanyan and mountain and water, but also contains the"value judgment"of the study of poetry nature and new variables of literature.Its covert meanings is that, since the East Jin, the style of mixing metaphysics with the poetry had blocked the poetry's passageway of indicating goals, releasing sentiments, using analogy, and conveying hopes.Yet, the sudden rise of mountain and water poetry in the early years of Liu and Song periods had gained a fresh feature and vitality by extricating from the metaphysical dullness of the Xuanyan poetry and linking up to the millennial tradition of poetry's "releasing sentiments"and "expressing intentions by association".Unfortunately, Liu Xie's argument on the basis of Confucian poetry and aesthetics has long been miscomprehended or concealed intentionally or unintentionally.As a matter of fact, while the boom of the aesthetics of mountain and water and its poetry in the Six Dynasties is intertwined with Daoism and Buddhism, it actually results more from the longtime nurturing of the Confucian"ethical theory of mountain and water", the romantic spirit of poetry and the tradition of expressing intentions by association.The revival of the Confucian thoughts in the early years of Liu and Song periods has also accounted for the state above.
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