《文心雕龍‧原道》「天地之心」義的啟示

This paper examines the relationship between the core ideas of the ＂Yuan Dao＂ (The Source of Dao) chapter and the general themes of Liu Xie's theory of literature elucidated in his Wenxin diaolong (The Literary Mind and the Carving of Dragons). It is focused on the symbolic meaning of dao (nature) and tiandi (heaven and earth) and the possibility of ＂semantic exchange＂ between the two terms. Liu Xie followed the tradition of Chinese thought in pursuit of wen (pattern or literature) by way of dao or nature, which he regarded was tiandi and vice versa. Tiandi was the ＂semantic situation＂ for the construction of wen. Motivation and will dominated the setting of a personal discourse. By invoking the sayings and genealogies of the sages Liu sought to lend authority to his own views of the universal function of the discourse of dao and tiandi in literature. The ＂mind of heaven and earth＂ was not a theoretical term; it was rather Liu Xie's compassionate articulation of classicism, which he regarded as the source of literature. It complements what he revealed in his ＂Preface,＂ that he, with ceremonial vessels (chengqi) in his hands, i.e., commanding the principle of the Classics, followed Confucius in a dream to establish his authority on literature. Indeed, Wenxie diaolong is a great work of classical literary theory and literary criticism.

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《文心雕龍‧原道》「天地之心」義的啟示

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