元明清诗学中以参悟为主的创作论

“参悟”一词跟佛教关系密切，但其指涉范围可加以拓展，用来描述所有源于道、儒哲学的超验心理活动。以此拓展的“参悟”概念为框架，可以在元明清诗学中梳理出四种以参悟为主的创作论，即参悟造化心游说、参悟山水观照说、参悟文字摄魂说、参悟情感直觉说。在参悟造化心游说中，郝经等人引入“内游”等源于中土的概念，描述了漫游天地的超验想象。在参悟山水观照说中，虞集等人遵循王昌龄佛教诗学的思路，描述如何在隐居生活中静观山水，获得超验的体悟。在参悟文字摄魂说中，谢榛、锺惺等人将唐宋硕儒阅读论观点移植到创作论，描述作者在学习古文的一瞬间实现与古人精神交融，达到一种借古人之魂来写作的境界。在参悟情感直觉说中，况周颐以自己的创作经验证明，情感是产生直觉的途径而非障碍，这种观点在中外诗学中极为罕见，无疑在超验心理活动的描述上实现了重大突破。

The phrase “meditation-awakening”（canwu，参悟）is closely associated with Buddhism, but could be broadened to encompass all suprasensory experiences or state of the mind. Using “meditation-awakening” as a broad conceptual framework, I have discerned four distinct meditation-awakening approaches to literary creation in Yuan, Ming, and Qing texts of poetry criticism. The first is that of the mind’s transcendental excursion with the Dao, as vividly described by the Yuan critic Hao Jing（郝经）. The second is that of Buddhist landscape meditation as theorized by the Yuan critic Yu Ji（虞集）and Ming-Qing critics. The third is that of self-transformative meditation of literary texts advocated by the late Ming critics Zhong Xing（锺惺） and Tan Yuanchun（谭元春）. The fourth is that of transcendental contemplation of emotions articulated by the late Qing critic Kuang Zhouyi （况周颐）. The discussions on the creative process by the critics mentioned above are among the most original theoretical expositions in traditional Chinese literary criticism.