| 摘要: | 本文以龐塏《詩義固說》為討論對象，針對《詩義固說》中之根源、生發、實踐與效應等四個層次加以拆析。其中根源與生發具有連動關係所以合併解釋，而實踐與效應涉及詩學形式與表現所以聯合論之。透過這樣的討論可以發現，龐塏《詩義固說》之根源是以儒家「詩言志」說為主要理論範型，在此範型下引申解釋禪宗之意，認為凡事必引歸自己，詩必由胸次出發，如此一來情景自然現成。然其內在核心並不由這樣的內容發展出詩學之藝術特質，反而導入道德趨向，以禮義為內在情志之本質，以「辭達」為其情志表現的實踐效應，藉由「詩依題行」與「以賦為主」等雙軸，規範詩語言符號與創作主體內在思理之對應，務使創作主體之「志」落實為「詩」，進而以上述理路為其匡範詩學應所以如是之固說。
This article takes Pang Da's“Shi Yi Gu Shuo”as the object of discussion, and analyzes the four levels of“Shi Yi Gu Shuo”in terms of its origin, growth, practice and effect. Among them, the root and germinal have a linkage relationship, so they are combined to explain, and practice and effect involve poetic form and performance, so they are combined. Through this discussion, it can be found that the root of Pang Da's“Shi Yi Gu Shuo”is based on the Confucian theory of“poetry expressing will”as the main theoretical model. Under this model, it is extended to explain the meaning of Zen, and believes that everything must be cited to oneself. Poetry must start from the chest, so the scene is naturally ready. However, its inner core does not develop the artistic characteristics of poetics from such content, but leads to the trend of morality, taking ritual and righteousness as the essence of inner emotions, using“ci Da”as the practical effect of emotional expression, and using“poetry” as the practical effect of emotional expression. According to the dual axes of“inscription line” and “fu-based”, standardize the correspondence between the poetic language symbols and the inner thinking of the creative subject, so that the "will" of the creative subject can be translated into“poetry”, and then use the above-mentioned rationale as a guide. Fan Shixue should be so insistent. |
