頁籤選單縮合
題 名 | 也談《詩經》的興=On the Technique of Hsing in the Shih ching (Book of Poetry) |
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作 者 | 龍宇純; 龍宇純; | 書刊名 | 中國文哲研究集刊 |
卷 期 | 1 民80.03 |
頁 次 | 頁117-133 |
分類號 | 093 |
關鍵詞 | 詩經; 興; 興體詩; |
語 文 | 中文(Chinese) |
中文摘要 | 本文提出四點意見:一、孔子所說「詩可以興」的興,與興體的名稱無直接關係。二、〈麟之趾〉一詩,可為興句取義的內在證明。改易〈桃夭〉、〈東山〉詠新婚的興句,可見興句不得無義。詩雖間有只取趁韻的文字,但非興體獨有之現象,比賦亦然。三、比自智出,興由感來,兩者的區分,自摯虞以來早有明辨。由於心的「自行」、有不期而然的興會,故有興句所言非眼前景者。四、興體為詩所獨具,故《毛傳》獨標興體;比賦只是相對於興建立的名號。興是詩的起頭,是以恆在章首;言此賦,當以不在章首為限。章中間有興,必在換韻的開端;換韻,等於章節的另起。所謂章末之興,不僅詩中無有,根本亦不合語意。 |
英文摘要 | Four points are made in this article : 1) The technique hsing 興 has no direct connection with the Confucisn statement , “Poetry can stir up human emotions”(Shih k’e i hsing 詩可以興). 2) From the poem “Lin chih chih” 麟之趾 , one can see that the technique hsing involves not only phonological patterns but also the intrinsic meaning of the poem . Although words of pure rhythmical patterns do exist , they are not restricted to the hsing verses ; the pi 比 and the fu 賦 verses also have them . 3) It has been known since Chih Yu 摯虞(d. 311) that while the pi involves the human intellect , the hsing is derived from emotions . Since emotions operate instinctively , they tend to make free associations . As a result , the hsing verses may refer to scenes in the past as well as the present . 4) The hsing is unique to the Shih ching 詩經 , therefore the Mao exegesis of the Shih ching emphasizes the hsing technique , while the pi technique derives its name from its nature as distinct from that of the hsing . The hsing verses mark the beginning of a poem and are always used to start a stanza . The opening lines of a poem are sufficient for us to judge whether its main technique is fu , pi , or hsing . If used in the middle of a stanza , the hsing verses must coincide with the change of rhyme , a marker technically equal to the beginning of a anew stanza . It is meaningless to talk about the hsing verses at the end of a stanza , and such a term would be contradictory to the semantic implications of the hsing . |
本系統中英文摘要資訊取自各篇刊載內容。