六朝文論中的「奇險」與其概念延異

古典文論相關研究，經常聚焦於概念或術語的解讀，而批評術語本身又具有複雜的義界，本文選擇以「奇」與「險」這兩個概念作為切入點，梳理這個複合詞衍生的多義性。在六朝文論裡，「奇」與「險」這兩個概念都可能與其他的詞彙產生連結，相對來說「險」較為負面，而「奇」則有褒貶兩義，劉勰《文心雕龍．體性》將文體分為八種，對「新奇」較為貶抑；而鍾嶸《詩品》相對推崇「奇」，將奇與平淡相對而多所讚揚。本文嘗試從這兩個批評術語及其延異的概念切入，進而與作品結合觀察。最後補充其他幾篇六朝文論提到「奇險」的關鍵篇目，試圖對「奇」與「險」進行更全面的建構。就本文所見：因為「奇險」複合而出的多元概念，與生澀、創新、模擬與反模擬等概念都存有辯證關係。因此，本文從文論術語出發，卻不僅進行詞彙的探討，而希望貼近文論背後複雜的體系與建構過程，從觀念史的角度補充文論相關研究。

關鍵字

奇；險；文論；文心雕龍；詩品

並列摘要

The study of Chinese classical literary theory often focuses on the ambiguity interpretation of ＂concepts＂, and the diction has complex meanings. This proposal chooses two terms ＂Strange＂ and ＂Danger＂ as the entry point. I will discuss the generation and development of the concept from the Six Dynasties to the Tang and Song Dynasties, and then to the Ming and Qing Dynasties. In the literary theory of the Six Dynasties, the two concepts of ＂Strange＂ and ＂Danger＂ are closely integrated with other diction. Relatively, the ＂Danger＂ is more negative. Liu Xie had divided styles into eight types in ＂WenXinDiaoLong＂, which is more derogatory to ＂Strange＂; while ＂Shi Pin＂＂relatively admired ＂Strange＂, compared with plain and praised much. This proposal attempts to start from these two concepts and their derivative meanings, and then combine them with the article and literary theory of the past. In my opinion, ＂Strange-Danger＂ presented in a negative style and become a unique writing technique. The concepts have complicated dialectic relationship with stiff, innovative mutation, and simulation and anti-simulation issues. Therefore, this seems to be only a study of combing and re-evaluating the diction of literary theory, but it can actually be close to the generation and construction of the complex system behind classical literary theory.