鄭毓瑜Cheng, Yu-Yu臺灣大學:中國文學研究所曾守仁Tseng, Shou-JenShou-JenTseng2010-05-042018-05-292010-05-042018-05-292008U0001-1607200821221700http://ntur.lib.ntu.edu.tw//handle/246246/178542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。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.中文摘要 IBSTRACT英文摘要 II論 船山詩學概述與抒情系譜之建構 1、抒「情」的開場 1一）船山憂患詩學 2二）情的「認識」論 5、所謂「俗論」：船山詩論的當代指向 10、抒情系譜再探與回應 16、問題與章次 24一章 船山詩論顯影：以詩史為核心的考察 33一節 詩與史的互諍 34二節 詩語與實錄 39、情與事的融合 39、事在船山詩論中的緊張性 43三節 詩的體類意義 50、詩以道情，道性之情 52、白地光明錦：詩歌與心緒 54四節 回歸抒情傳統，尋一乾淨之地 60、遺民的自況 60、頑石與補天：純詩的抒情構築 65二章 王夫之興觀群怨說再探──情論的認識與啟悟 79一節 船山興觀群怨新義界的開啟 79、興觀群怨溯源 79、船山之興觀群怨說 85、興觀群怨作為船山規範詩學之效力 91二節 詩歌（情）的雅化與純化 98、船山之情志批評──由詩可以怨談起 98、情與辭：君子之情與君子詞 105、小結 115三節 船山興觀群怨說的開展與抒情傳統的參與 120、「四情」意義的再探討 120、船山詩情論中的讀者與作者 124、詩的抒情與怨情 126、船山情論與抒情本體意識 128三章 王夫之詩學中情景理論再探 133 論 133一節 奠基心物相感的詩學論述 136、船山心物關係新論 136、心目為政 139、純感覺的現量 145二節 情景論 154、詩語皆景語──情景交融論（一） 156、賓主說：情景交融論（二） 167、景中有人──抒情自我的再發現 175三節 船山天人之學與詩學情景論之交涉與開展 181、情景互藏其宅而交相為用 182、導情以復性 187四章 王夫之詩樂之理一說再探──由詩以興樂加以考察 193 論 193一節 樂興之際與天人關係論 196、船山樂論分疏 197一）究明大始 197二）由樂以見性體天德 200三）樂音物理層面之考察 202、「興於詩」與「成於樂」 204一）共鳴與幾感 204二）詩以興樂，樂以徹幽 209三）樂可以觀：聲音與情感之對應 213、小結 217二節 船山以樂論詩的意義 219、船山論詩的聲情說 221、氣度聲情：詩歌中意理與音理之交涉 233三節 船山以樂論詩之重估──重返詩學原鄉與樂的復歸 242、超越唐音與宋調 243、抒情的鳴響：樂語、景語以及元氣的通貫 246五章 再探船山詩論中的意與勢──從「意」對「情」的摹寫論之 253 論 253一節 船山以意論詩說 258、意與情：船山「詩以意為主」說的情論基底 258、意與神：意的文辭面之展開 263、意與氣：意的展開與元氣之灌注 269、小結 272二節 船山勢論 274、文行之象 277、力與忍：論文勢夭矯靈動之由 279、取勢與取景 283三節 船山詩本質論 289 論 船山詩學的抒情榮光──情的辯證、收攝與超越 295、船山「詩齣」的抒情考察：《龍舟會》的「遺」音 295、詩歌之悟與超越──天人∕思文∕幽明視域的通貫 301 考 文 獻 311application/pdf5137104 bytesapplication/pdfen-US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misery poeticChinese lyricismstimulating observing express fellowship show resentmentFusion between emotion and sceneDiscussing poetry in musical termsConcept is the dominant factor in poetryconcept and dynamic structurethesishttp://ntur.lib.ntu.edu.tw/bitstream/246246/178542/1/ntu-97-D90121008-1.pdf