中國傳統詩選集的「典律」交替：以《古詩選》為探討核心

本文欲借助近半世紀典律論爭獲得的發展啟示，由篩選基準、正典化等過程上，重新檢視傳統詩選集的影響力，發現詩選集確實是傳統詩文論中最具體而有效力的典律形式；也以明清詩選集為範圍，歸結出三種詩典律的類型。其後，再由綜觀編者評選基準、選集編排、讀者接受等多重角度，以王士禎《古詩選》為中心來探究傳統詩選集在建立典律時，對前代典律的接受狀況：其中由《古詩選》對杜詩典律的表面繼承與意義轉移、對五古、七古詩典律的辨體詮釋與總結，以及清中葉《今體詩鈔》等選集對《古詩選》的接受與誤讀…等，皆足以驗證傳統詩選集的典律交替，大多採取先繼承前代、再漸進轉換新典律的作法；且其典律的選立每先以「辨體之正變」為前提，再考量藝術價值的高低；而於各體名家典律的選擇與詮釋上，則通常可作為其論詩趨向的具體指標。

關鍵字

典律；詩選集；王士禎；古詩選；今體詩鈔；古詩源

並列摘要

On a basis of the developmental inspirations acquired from disputes of “Canon” for the past half century, this text intends to review the influence of traditional poems collection through procedures of sifting basis and canonization, in hopes of discovering poems collection to be actually the most concrete and effective canon style among traditional poetics; three types of poetic canons are also concluded within a range of poems collection in Ming and Ching Dynasty. Subsequently by taking “Ancient-Style Poems” as center, make an exploration into the acceptant condition of traditional poems collection to canons in the preceding dynasties at the time of “canon” being established, from a comprehensive view by editor’s selection basis, arrangement of collection and readers’ acceptability: among which the “Ancient Poems Collection” to the superficial succession and meaning transfer of Tu’s Poems canon as well as to the polemic interpretation and conclusion of five-character and seven-character poems canon, and the acceptability and misreading of “Poems of Transcription In Modern Style” in the mid of Ching Dynasty to “Ancient Poems Collection”, all of which are sufficient to verify the alternative of “canon” for traditional poems collection that most of them adopt measures of succeeding canon in early times first, then making an increase and reduction; while the selection of canon takes “direct variation of polemics” as premise, followed by a consideration of degree of art values; it can be the concrete index of trend to make comments on poems on the selection and interpretation of canon for masters of each school.