Abstract
"風人"一辭主要指《詩經》"國風"一脈的詩人,首先包括"國風"詩篇的作者,次被引申爲繼承"國風"抒情傳統的理想詩人的範型。作爲一種批評策略,"風人"的詩學原則與漢儒所奠定的經典解詩傳統呈現出同源而異趣的發展轍跡,其重心逐漸從"聖門"的經典語境過渡向"詩家"語境,被開啓章法、修辭、言意關係等語言情意結構層面的理解和研究維度。此一詩學轉向大致在明代以"辨體"爲理論要素的文章學語境中達到高峯,以許學夷《詩源辯體》爲集大成之標誌,完成對多種資源的綜合。"風人"的完整內涵至此包括諸如風刺、考正、比興、寄贈、微婉、溫厚、言近旨遠、不落言筌等一系列倫理價值或美感特質。
The category "Fengren( 風人)" chiefly referred to the poets who played their roles as the successors of the "Air of the States (Guofeng 國風)" in the Classic of Poetry. Firstly it meant the authors of "Guofeng," and was then used as the exemplar of poets who inherited Guofeng's lyric tradition. In a rhetorical way, the poetic principle of Fengren, which shared a common origin with the classical hermeneutics of the Classic of Poetry established by Han Confucians, found its unique orientation with its focus gradually moving from "Confucian Way (Shengmen 聖門)" to "Poetic Field (Shijia 詩家)." During this transition, some new dimensions were discovered at the level of linguistic and emotional structures of poetic texts, such as the arts of composition, literary rhetorics and the relationship between saying and meaning. This poetic transition reached its climax in the context of the "Clarification of Genres (Bianti 辨體)" theories of the Ming Dynasty, represented by Xu Xueyi's Shiyuan Bianti (《詩源辯體》) which generalized a variety of resources. Up to then, the integrated connotation of Fengren had included a series of ethical and aesthetical principles such as satirizing, admonishing, analogizing, presenting, gently speaking and skillfully implying.
The category "Fengren( 風人)" chiefly referred to the poets who played their roles as the successors of the "Air of the States (Guofeng 國風)" in the Classic of Poetry. Firstly it meant the authors of "Guofeng," and was then used as the exemplar of poets who inherited Guofeng's lyric tradition. In a rhetorical way, the poetic principle of Fengren, which shared a common origin with the classical hermeneutics of the Classic of Poetry established by Han Confucians, found its unique orientation with its focus gradually moving from "Confucian Way (Shengmen 聖門)" to "Poetic Field (Shijia 詩家)." During this transition, some new dimensions were discovered at the level of linguistic and emotional structures of poetic texts, such as the arts of composition, literary rhetorics and the relationship between saying and meaning. This poetic transition reached its climax in the context of the "Clarification of Genres (Bianti 辨體)" theories of the Ming Dynasty, represented by Xu Xueyi's Shiyuan Bianti (《詩源辯體》) which generalized a variety of resources. Up to then, the integrated connotation of Fengren had included a series of ethical and aesthetical principles such as satirizing, admonishing, analogizing, presenting, gently speaking and skillfully implying.
| Translated title of the contribution | From "Confucian Way" to "Poetic Field" : A Transition of "Fengren" and the Poetic Theories of Ming |
|---|---|
| Original language | Chinese (Traditional) |
| Pages (from-to) | 95-117, 390-391 |
| Number of pages | 25 |
| Journal | 中华文史论丛 |
| Volume | 2014 |
| Issue number | 2 |
| DOIs | |
| Publication status | Published - 2014 |
| Externally published | Yes |
Keywords
- 風人
- 國風
- 聖門—詩家
- 得失—體制
- 辨體《詩源辯體》