王夫之詩學理論重構：思文／幽明／天人之際的儒門詩教觀


	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、以文為詩等體類上的陵越；創作上則遭以意為主、敘事繁冗等的侵犯；當世小說、戲曲的風行，更使得強調簡、雅、凝鍊的詩歌一道受到強力挑戰，呈現出抒情與敘事的緊張性；在格律、詩法大行其道下，又使得詩人元聲、元氣拘滯而不能出，詩歌的真誠性受到質疑。　　因此，船山倡言興觀群怨四者融通，經由情的收攝與轉進成為一心之洞燭與朗現，由人之情而得窺天之性；藉著抒情自我的靈視與觀照，那既是心性論上的延伸，同時也回應世運衰頹之所由，藉以辨明、超越晚明一片情論的差相彷彿。至此，遺民船山終能克服時間的天敵，其淒心熱魄得以安頓於（如白地光明錦）詩歌之中，將此孤忠丹心寄予後世，而那也是鼎革之後唯一的乾淨之土，讓自身超出了當代天崩地解。英文提要　　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. 作者簡介曾守仁　　臺灣大學中國文學博士，現任輔仁大學中文系助理教授。主要研究領域包括宋、明、清詩學與文學理論。期刊、專書論文包含：竟陵派、錢謙益、王夫之研究論文數篇；《金聖嘆評點活動研究──擬結構主義的重構與解構》，暨南國際大學碩士論文，1998年，黃錦樹、高大威指導；《王夫之詩學理論重構：思文 / 幽明 / 天人之際的儒門詩教觀》，臺灣大學博士論文，2008年，鄭毓瑜指導。


	目錄導論船山詩學概述與抒情系譜之建構1 一、抒「情」的開場2 （一）船山憂患詩學3 （二）情的「認識」論7 二、所謂「俗論」：船山詩論的當代指向13 三、抒情系譜再探與回應21 四、問題與章次32 第一章船山詩論顯影：以詩史為核心的考察43 第一節詩與史的互諍44 第二節詩語與實錄50 一、情與事的融合.51 二、事在船山詩論中的緊張性57 第三節詩的體類意義64 一、詩以道情，道性之情68 二、白地光明錦：詩歌與心緒71 第四節回歸抒情傳統，尋一乾淨之地77 一、遺民的自況78 二、頑石與補天：純詩的抒情構築85 第二章王夫之興觀群怨說再探 ──情論的認識與啟悟101 第一節船山興觀群怨新義界的開啟101 一、興觀群怨溯源101 二、船山之興觀群怨說109 三、興觀群怨作為船山規範詩學之效力118 第二節詩歌（情）的雅化與純化127 一、船山之情志批評──由詩可以怨談起127 二、情與辭：君子之情與君子詞138 三、小結153 第三節船山興觀群怨說的開展與抒情傳統的參與159 一、「四情」意義的再探討159 二、船山詩情論中的讀者與作者165 三、詩的抒情與怨情169 四、船山情論與抒情本體意識171 第三章王夫之詩學中情景理論再探177 引論177 第一節奠基心物相感的詩學論述181 一、船山心物關係新論181 二、心目為政185 三、純感覺的現量193 第二節情景論203 一、詩語皆景語──情景交融論（一） 207 二、賓主說：情景交融論（二）222 三、景中有人──抒情自我的再發現232 第三節船山天人之學與詩學情景論之交涉與開展239 一、情景互藏其宅而交相為用241 二、導情以復性247 第四章王夫之詩樂之理一說再探 ──由詩以興樂加以考察255 引論255 第一節樂興之際與天人關係論259 一、船山樂論分疏261 （一）究明大始261 （二）由樂以見性體天德264 （三）樂音物理層面之考察267 二、「興於詩」與「成於樂」270 （一）共鳴與幾感270 （二）詩以興樂，樂以徹幽277 （三）樂可以觀：聲音與情感之對應281 三、小結287 第二節船山以樂論詩的意義289 一、船山論詩的聲情說292 二、氣度聲情：詩歌中意理與音理之交涉308 第三節重返詩學原鄉與樂的復歸──船山以樂論詩之重估318 一、超越唐音與宋調320 二、抒情的鳴響：樂語、景語以及元氣的通貫325 第五章再探船山詩論中的意與勢──從「意」對「情」的摹寫論之335 引論335 第一節船山以意論詩說341 一、意與情：船山「詩以意為主」說的情論基底341 二、意與神：意的文辭面之展開347 三、意與氣：意的展開與元氣之灌注355 四、小結360 第二節船山勢論361 一、文行之象365 二、力與忍：論文勢夭矯靈動之由369 三、取勢與取景373 第三節船山詩本質論380 結論船山詩學的抒情榮光 ──情的辯證、收攝與超越387 一、船山「詩齣」的抒情考察：《龍舟會》之「遺」音387 二、詩歌之悟與超越 ──思文 / 天人 / 幽明視域的通貫396 參考文獻411