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題 名 | 船山詩學中「現量」意涵的再探討;兼論傳統「情景交融」理論研究的一個誤區=Meanings of Pratyrsa in Wang Fuzhi's Poetics: A Rethinking of the Theories of "Fusion between Emotion and Scene" |
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作 者 | 蕭馳; | 書刊名 | 漢學研究 |
卷 期 | 18:2=37 2000.12[民89.12] |
頁 次 | 頁369-396 |
分類號 | 821.8 |
關鍵詞 | 船山思想; 現量; 唯識論; 中國抒情傳統; 互應論哲學; Wang Fuzhi's thought; Pratyrsa; Yogacara Buddhism; Chinese lyricism; Correlative thinking; |
語 文 | 中文(Chinese) |
中文摘要 | 「現量」乃王船山由因明學和唯識學借用來的重要詩學範疇。本文從船山詩學的觀念體系討論船山唯識學中「現量」範疇三種意涵-現在義、現成義和顯現真實義在詩學中意義的延伸。其中,現在義和現成義體現了這位理論家對詩人的身觀限制當下證悟式興會的關注,直接沿承了始自元康、永嘉詩歌和詩學的一個傳統。對船山而言,又特別以視宇宙為一流動洋溢之大化為根據,以覿面相當地親證「吾之動機」和「物之動幾」間往來授受為本質,從而彰顯了中國抒情傳統相對於歷史傳統的特質。而船山「現量」範疇中的顯現真實義,則因與近年古代文論研究者在「情景交融」研究中預設的現代文藝心理學框架不合而被忽略。本文提出:船山詩學的情景關係理論之基礎絕非近年所津津樂道的藝術心理學,而是中國傳統的互應論哲學。船山藉此肯定詩人所面對的是一本然地具備審美價值理序的宇宙自然。文章最後討論了船山以「現量」論詩與其心性哲學的悖謬關聯,指出:這實質上體現了注重瞬養息存、性體當下呈現與繼善、成性、存存乃船山思想本身的「一元兩極」,彰顯了船山道德哲學中的歷史主義。 |
英文摘要 | "Pratyrsa" is an important notion of poetics which Wang Fuzhi borrows from Buddhis logic and the Yogacara school of thought. This essay discusses the extended meanings of this notion in poetics in relation to its three denotations in Wang's own Yogacara studies, "presence," "ready-made," and "revealing fact." Wang's use of the first two meanings carries on a tradition started from Yuankang and Yongjia periods and reflects the theorist's concern for using immediate experience and sensuous inspiration in poetic composition. For Wang Fuzhi himself, these meanings are also particularly grounded on his cosmological view of seeing the universe as a perpetual transformation process and his understanding of poetic experience as confrontation with an intercourse between heavenly ordinance and human nature. By the concept of immediacy, Wang highlights one of characteristics of Chinese lyricism distinct from historiography. The third meaning of this notion, "revealing fact," has been purposefully ignored by contemporary scholars since it apparently falls outside their prefabricated framework of modern artistic psychology used in the studies of the ancient literary theory of the fusion of emotion and scene. This essay argues that the basis of Wang Fuzhi's thought on relationship between emotion and scene is not artistic psychology but the correlative thinking in Chinese philosophy, wherein the universe by nature possesses the order of aesthetic values. The final part of this essay discusses the paradoxical value of pratyrsa in relation to Wang's moral philosophy and his poetics. It demonstrates that the presenting of xingti (moral noumenon) at here-and-now world and the maintaining good are a kind of "bipolarity within oneness" in Wang's thought by which historicism of his moral philosophy is conspicuously revealed. |
本系統中英文摘要資訊取自各篇刊載內容。