論李夢陽以“和”為中心的詩學體系（之一）－以“和”為依據所規制的詩歌本質與功能

本文旨在論述李夢陽的「詩學體系」。在明代的復古思潮中，李夢陽的詩論具有指標性的意義。然而明清以來，由於受到像錢謙益等具有重要影響力的文學家的批判，致使長久以來，李夢陽的復古被局限在模擬古人作品的意義上，而他的「詩學體系」乏人問津。現代學者如郭紹虞，深入閱讀李夢陽相關詩論之後，指出明清以來的批判，不夠全面。現代學者們的研究，有助於我們突破加諸在李夢陽詩論上的偏頗視域。然而由於缺乏「體系」的詮釋，致使李夢陽的詩論流於零碎，甚至相互矛盾，這樣的結果，令人惋惜。綜觀李夢陽的著作，可知他試圖以「和」的觀念為依據，將「詩」的諸多構成要素，統整成為一個具有系統性的整體。此一觀念的來源可以上溯至先秦時代「和」的觀念。透過此一研究進路，我們可以確當地掌握李夢陽詩論的價值，進而為解決明代「格調派」構派及變遷終界的問題，奠定基礎。

關鍵字

復古派；格調派；明代；李夢陽；詩學體系；和

並列摘要

This paper aims to expound on Meng-yang Li's ”system of poetics.” Meng-yang Li's discourse of poetics could serve as a landmark of the back-to-the-ancients trend of thought in the Ming dynasty. Nevertheless, owing to the criticism of influential literati, such as Qian-yi Qian, from the Ming and the Qing dynasties, Meng-yang Li's back-to-the-ancients poetics has long been confined to an imitation of ancient works and his ”system of poetics” has been willfully neglected. Modern scholars, such as Shao-yu Guo, after detailed and thorough readings of Meng-yang Li's discourse of poetics, have pointed out that criticism from the Ming and Qing dynasties was not sufficiently comprehensive. The studies conducted by modern scholars are contributive to breaching such biased views of Meng-yang Li's discourse of poetics. Unfortunately, these studies do not provide a systematic approach in their interpretations, resulting in a presentation of Meng-yang Li's discourse of poetics that is fragmentary and even self-contradictory. In undertaking a comprehensive survey of Meng-yang Li's works, it has been observed that he attempts to base his discourse of poetics on the concept of ”concord” in which a multitude of poetic constituents are integrated into a systematic unity. The concept of ”concord” can be traced back to the ancient Qin dynasty. Through this line of research, we may accurately affirm the value of Meng-yang Li's discourse of poetics and further establish a basis for clarifying the framework of the ”Ge-Diao School” in the Ming dynasty.