王夫之詩學理論重構：思文／幽明／天人之際的儒門詩教觀

Reconstructing Wang Fu-Chih’s poetry theory :An exploration of Confucianism’s poetic concept based on the correlation between philosophy and poetry / darkness and brightness / heaven and human

曾守仁(Shou-Jen Tseng)

指導教授 ： 鄭毓瑜

國立臺灣大學/文學院/中國文學研究所/博士(2008年)

https://doi.org/10.6342/NTU.2008.00918

摘要

本論文主要在重構王夫之的詩學理論，首先抉發出遺民船山憂患詩學底蘊，由此展開對興觀群怨、情景交融論、詩樂之理一、意與勢等議題的重新討論，凸顯其詩論的重心──情，也據以觀察船山如何透過「正情」來重塑這些老議題，據以重現他心目中的詩學風貌。
詩歌發展至明清之際，原有的抒情性已然面貌不顯，淹沒於詩史、以文為詩等種種體類上的陵越；在創作上則遭以意為主、夾敘夾議等的侵犯；而當世小說的風行，更使得詩歌一道的簡、雅等受到強力挑戰，呈現出抒情與敘事的緊張性；再者，格律、詩法大行其道下，又使得詩人元聲為其所拘滯而不能出，詩歌書寫隱然成為有法可循的摹寫，而非詩人一時一事的展開，讓詩歌的真誠受到質疑。因之船山認為詩歌已然成為質地有染、成色不純的製作，其倡言興觀群怨四者的融通，經由情的收攝與轉進而成為一心之洞燭與朗現，由人之情而得窺天之性，用以超越晚明一片情論的差相彷彿；再者需復之以樂，那是以樂音作為抒情的基底，凸顯其抒情內核，強化其抒情振幅，重新使樂語歸之於樂德，回到秩序與道德未曾崩解的太和之境；而詩人既經由情的觀照與樂的感通提昇至天人之際，詩歌即體現為如此提昇與啟悟的過程，船山以此重寫「詩以意為主」的主張，讓詩意體現出時序中經由思辨與反省過程，而迥非故實引用與案頭上的作意。
船山詩學並非孤立的領域，就其思想的一致與一貫看來，實不離其天人之學的觀照，而同時也是心性論的延伸；而主情的詩歌更是位處天崩地解的年代的遺民，藉著詩歌古老的「詩可以觀」本具有的言志向度，回應世運衰頹據之所由，以及藉著讓詩歌抒情性克服時間的天敵，遺民船山終將此孤忠丹心寄予後世的一線之傳，也讓自身克服當代的天崩地解，在詩歌中得到真正的安頓。

關鍵字

憂患詩學 ； 抒情傳統 ； 興觀群怨 ； 情景交融 ； 以樂論詩 ； 詩以意為主 ； 意與勢

並列摘要

This dissertation aims to reconstruct the poetic theory of Wang Fu-chih. First of all, it discusses Wang’s misery poetry, from which the author also tries to review topics like “stimulating observing express fellowship show resentment”, “Fusion between emotion and scene”, “Theory of poetry and lyrics” and” concept and dynamic structure” to demonstrate that “affection” is the prerequisite of poetry. Furthermore, how Wang re-shapes the above-mentioned topics through “proper affections” and how he reflects poetry are also observed in the dissertation.
Poetry was not dominated by affection only when developed in Ming and Chin dynasties. At that time, it was overtaken by styles like “Shishi” and “Prose as poetry” . Concept was the dominant factor in composing poetry and narration and comment also appeared. Simplicity and elegance in poetry were severely challenged when novels became popular, and this also led to a conflict between affection and narration. Moreover, poets’ original voice was further refrained by principles and formats. Under this situation, poetry was no more a reflection of poets’ affection; rather, it became a writing style for poets to follow, and its simplicity was questioned.
Therefore, Wang believed that poetry lost its purity. He proclaimed the integration of “stimulating observing express fellowship show resentment”, and turned affection into insight and enlighten in the hope that human affection can observe the nature of the universe. His view about affections was different from other poets in the late Ming dynasty. He also believed that lyrics must be combined with poetry. In other words, lyrics should be the base for affection to further illuminate human emotion and poetry also needs to combine with morality to lead human beings to the original state of Grand Harmony where order and ethnics are still intact. Inspired by the combination of affection and lyrics, poets were able to reach the state of Grand harmony; poetry therefore served as a medium for their elevation and enlighten. “Concept is the dominant factor in poetry” proclaimed by Wang then demonstrated that a good concept is a process of thinking and reflection neither just a quotation of others’ works nor imagination.
Wang’s poetry theory actually is not an isolated territory. Judging from its consistency of thoughts, it is indeed the study of Heaven and Human Nature, also an extension of Theory of Human Nature. For folks living in the change of Ming and Chin dynasties, Wang’s affection-oriented poetry appropriately served as their response to the chaotic political environment. Wang could also attached his loyalty to Ming and found his redeem and a peaceful final settlement in his own poetry.

並列關鍵字

misery poetic ； Chinese lyricism ； stimulating observing express fellowship show resentment ； Fusion between emotion and scene ； Discussing poetry in musical terms ； Concept is the dominant factor in poetry ； concept and dynamic structure

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