從「興」之觀點論船山詩學—
附論船山之詩學史觀

本文的正文分為四章，其中第二章〈船山詩學本體論〉說明了船山心目中的詩人是將自身的整體存在感透過語言，而能真誠地寫出抒情詩的詩人；理想的詩是擁有整體存在感的詩人所創作的抒情詩。｢人｣與｢詩｣透過｢興｣的中介嵌結，成了互相輝映而不可分割的生命共同體：詩不再只是詩，而是呈現詩人生命情懷的美感境界；人不再只是人，而是通古今上下於一心的抒情詩人。第三章〈船山詩學創作論〉說明抒情詩的創作主體必須能｢興｣：喚起整體存在感。其放在創作的泉源就是｢起興｣：即景生情；｢興會｣：融景會心。｢起興｣、｢興會｣的即景會心具有｢現量｣的現在義：不緣過去作影的當下時空性；現成義：一觸即覺，不假思量計較的直覺性。一旦審美主體即景會心，就能產生情景相生相成的真實意象，此包含了｢現量｣的第三層意含：顯現真實義的真實完整性。抒情詩的創作必須透過「比興」的手法將情景產生契合，也就是將內心抽象的情感蘊藏于典型的具體景物形象之中。而契合的方式分為情景相生相成與情景相反相成。前者分成于賓見主的景中情、于主見賓的情中景；後者則是以哀景寫樂，以樂景寫哀。它們的基礎都是詩人當下的真情實感。真情實感使得詩歌具有獨創性，而透過「比興」委婉含蓄的方式使得詩歌具有多義性。多義性與獨創性是落入形式化的詩所無法呈現出來的，它們是詩歌意象的兩項特性。但是，詩歌意象並不是抒情詩創作的高峰，高峰是情景妙合所呈現的意境。第四章〈船山詩學鑑賞論〉論述詩歌作品實際上只是讓作者與讀者藉此溝通的橋樑。作者即人生而藝術，讀者即藝術而人生。作者將當下的感動透過詩歌作品呈現出來，讀者善讀詩歌作品而受到感動。感動在作者與讀者的心中，而不在詩歌作品當中，所以讀者與作者是平等的，都具有主體能動性：作者創作詩歌，賦予它生命；讀者鑑賞詩歌，增加它生命力。於是，生命與生命的前後相續，就在優美的詩歌作品中，自然地引導人心向善，而成就出美善合一的人生詩歌。最後，第五章〈船山詩學史觀〉發表了從詩學發展的脈絡中釐清「風雅正變」、「質文代變」與「詩體正變」的涵義，接著說明船山的詩學史觀是「詩體正變」。並以此為基準，來照察船山歷代的詩選：《古詩評選》與《唐詩評選》的內容，以「正變」為經，以歷史為緯，綜合歸納出五言與七言體式的源流與風格，歸納後的結果將會得出古詩、歌行、近體是一脈相成的，是不容分割來看的。五言的發展是從五言古詩、五言律詩到五言絕句而完成的；七言的發展是由七言歌行、七言律詩到七言絕句而完成的。前者的風格以《古詩十九首》作為典範；後者的風格以鮑照的七言歌行作為典範。最後，在船山的心目中，詩歌能動人於興觀群怨的詩歌就是「正」，反之即是「變」。「詩體正變」的尺度是他評選歷代詩歌的最高標準。

關鍵字

興

並列摘要

The entire thesis is constituted of four major chapters. The second chapter “Discourse of Chuan Shan Poetical Theory” expresses that how Chuan Shan defines a poet really is that he can compose genuine lyric poems through language derived by the awareness of personal existence. Furthermore, the ideal lyric poems are produced by the individual who perceives his own entity. The relationship between human entities and poetry, compactly connected by the mediation of “Xing”, contributes to the undividable, brilliantly reflected living community. Poetry has transcended its original form and displays the poets’ various aesthetic feeling toward life; human beings also change into lyric poets who possess the better fabric of history. In the third chapter “Theory of Chuan Shan Poetical Composition”, the central concept explicates that the lyric poetry composers must equip with the quality of “Xing”, namely arousal of the personal existence. The inspirations for poets’ production, one is characterized as “Qi Xing”, that means outward emotion urged by the setting and the other is represented as “Xing Hui”, refers to emotional involvement in the setting. The two approaches to experience the surrounding pose “Xian Liang” present essence: different from the past space; the established essence: dependent upon intuition, very direct perception of the environment. Once the entity who values the environment aesthetically reaches to the extent of understanding, then he can foster the real image equally as the setting, which contains the third “Xing Liang” essence that emerges the complete structure of real meaning. The creation of lyric poetry the poet needs to adopt the “Bi Xing” method, allowing the match between feelings and setting to happen, put it simply is that the abstract affection would be hidden in the typical concrete images. In order to define the difference in matching courses, there are, first of all, the natural development between feeling and setting and second, the opposite proceeding among them. The former comprises two types: the feeling flamed by the setting and vice versa; in contrast, the latter also has two distinguished forms: the conversion of sorrowful or joyful setting into total extremity. Their basis is all constructed by the poets’ real feelings upon that time. That the real feelings the poets present enables the poetry to be more unique and meaningful through the process of euphemistically implicit “Bi Xing.” The format-dogmatic poems can’t reflect its uniqueness and meaningfulness which belong to the two dominant characteristics of poetic images. However, those images produced by a great body of poems are not the peak—in fact, the meanings conveyed through feeling and setting are matching perfectly—for lyric poetry. Then in the chapter four “Appreciative Theory of Chuan Shan Poetry”, the theme is discoursed specifically on the aspect of lyric poetry literature virtually serves as the bridge for communication across from the composer to the readership. The poet creates art work aspired from his life practice; the reader extracts essence from various art formations. Throughout the lyric poetry the poet’s touched feelings can be fully presented and meanwhile, the reader would be moved by sipping the lyric poems. Either the poet or the reader has experienced the feeling of touch which emphasizes greatly that it doesn’t exist in the lyric poetry. Thus, between the poet and the reader there appears a balance position. All of them are active entities that the lyric poet surges life force into his literary works and the appreciative reader adds more vitality into those he has read. An exquisite, perfect lyric poem for life, as a result, is formulated that leads people to behave kindly by the continuous passing down of different generations in many fine lyric poems. Finally, in the appended chapter “The Historical Perspective on the Poetical Theory of Chuan Shan School”, it declares that the researcher will distinguish implications from “Positive Style Change”, “Generational Quality Change” to “Positive Genre Change” during the poetic development, followed by the announcement that Chuan Shan’s historical view on poetical theory is concluded into such a category of “Positive Genre Change.” The researcher will regard “Positive Genre Change” as the criterion to examine the past collections of Chuan Shan poetry, for example, “The Commentary of Chinese Ancient Poetry” and “The Commentary of Tang-dynasty Poetry”, with “Positive Change” as vertically and history as horizontally for the conclusion that the origin and style of five- and seven-words format poems. It turns out that Chinese ancient poetry, lyric verse and after-Tang poetry are sophisticatedly tied together and they can’t be examined separately from each other. The source of five-word format traces back to the progress from five-word ancient poem, strict tonal pattern and rhyme scheme to quatrain; as for seven-word one, it starts from seven-word lyric verse all the way to quatrain. In five-word poetical formation, its style is based on the paradigm of “Nineteen Chinese Ancient Poetry.” The style of seven-word poems takes the model of Bao Zhao’s seven-word lyric verses. In conclusion, Chuan Shan considers lyric pomes that can touch reader’s heart and arouse feelings as “Positive” or else “Changed.” The scale of “Genre Change”, therefore, forms the highest standard that he upholds to comment on past lyric poems.

並列關鍵字

Xing

參考文獻

《王船山人性史哲學之研究》(台灣：東大圖書，1987)。

〈從王船山的本體論看其人性論〉(《哲學與文化》，20：9，1993)。

〈王船山形上哲學思想的系統〉(《哲學與文化》，20：9，1993)。

Gordon, Barry and Lisa Berger

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從「興」之觀點論船山詩學— 附論船山之詩學史觀

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