王國維“境界說”與戲曲論的形而上學基礎

On Metaphisical Foundation of Wang Kuo-Wei's Horizontal Theory and Theatre Aesthetics

林國源(Kuo-Yuan Lin)

《美學藝術學》 3期 (2009/01) Pp. 25-35

摘要

「境界說」美學理論是王國維美學思維自「疲於哲學」轉而「移於文學」的學說支點。王氏於填詞成功之餘撰寫《人間詞話》，體現批評所依據之普遍性基準，後衍為近半世紀以來文學與藝術批評之元理念。此而，「境界說」是王國維對中國現代美學與批評最具原創性的貢獻，本文之作，一方面就思想發生的源頭言王國維美學思想的濫觴，次析論王氏境界說美學的形而上基礎，接著以「洗滌說」略言王氏對亞里斯多德詩學的初步把握，最後指出王氏戲曲界說的真正來源，以備日後研討王氏戲曲理論之資。

關鍵字

王國維 ； 康德 ； 紅樓夢評論 ； 人間詞話 ； 境界 ； 姚一葦 ； 宋元戲曲考

並列摘要

Professor, Theatre Department Taipei National University of the Arts, Taiwan Abstract ”Horizontal Theory” is the turning point of Wang Kuo-Wei's aesthetic thinking from ”tired in philosophy” and thus ”being transforid to literal arts”. After the ace in ”filing song-tze”, Won Kuo-Wei wrote down his critical work ”Comment on the tze of the human world”, the universal criterion for his criticism-Horizontal Theory is not only as the universal criterion for his criticism but also been taken as the metaphisical idea for the modern Chinese literature and art criticism.
Thus the ”Horizontal Theory” is the most orignial tribution of Wang Kuo-Wei to Chinese modern aesthetics and criticism. In writing this essay, the first aspect is to catch the origin point of Wang Kuo-Wei's aesthetic thinking, then the succeeding analysis is on the metaphisical foundations of his horizontal theory, while the main parts of this study is on the first understanding of Wang Kuo-Wei to Aristotle's Poetics. That is the real origin of Wang's confined definition of ”singing theatre” (Shi Chu), and this is also the foundation of his Chinese theatre study.
1. The Wang's foundation of ”old science” and his re-orientation to ”new science”. His study of Kant's philosophy and aesthetics.
2. ”Tired in philosophy” and thus being ”transferred to literature (poetry composition and critism)”.
3. Wang Kuo-Wei's Horizontal Theory was originated from Buddist phynominalogical idea of horizontal as the metaphisical foundation of the aesthetic world of liberal arts.
4. The foundation of singing theatre as science of theatre arts and it's origin of critical theory. The begining of Wang's study on science of theatre arts started from the composition of ”tze for human world” and its criticism; while we can point out that his science of Chinese theatre art has his roots on Aristotle's Poetics as following:
1. To judge the real drama and the real ”singing theatre” according to dialectic discour between narrative mode and mimesis.
2. Wang's definition of ”drama in wholly signitication” is to represent a story with speech, movement and singing medium, this is a definition according to the theatre elements as in the first chapter of Poetics.
3. The difference and interchangeability between tragedy and comedy according to Horace's Poetic art.
4. The citation of Katharsis theory as the telos of tragedy and as the telos of Ethics.
5. To explain the sublime value in ”Red Chambre Story” as ”Tragedy in Tragedy”, and gave two examples in Yuan Tza-Ghu: Guan Han-Ching's great tragedy ”The indesignable of Dao-Oe” and Ghi Ghun-Shiang's ”Orphrin of Chao's family”.
6. The initiative ability to found a science of singing theatre as reveal in Shon and Yuan History of singing theatre (1914).
7. Comment the composition of Yuan Tza-Ghu (Northern style) and Song-Yuan Nan Xi (Southern style) with the saying of ”having Horizontal of Images” (Yi-Gheng), this is also the extension of his horizontal theory.

並列關鍵字

Wang Kuo-Wei ； Kant ； Comment on Red Chambre Story 1906 ； Comment on the Tze of the Human World 1909 ； Horizontal Theory Ghing Ghie ； Yao Yi-Wei ； Shon and Yuan History of Singing Theatre 1913