王夫之诗学“现量说”之成因及其理论意义

王夫之诗学“现量说”之成因及其理论意义中文

王夫之（1619—1692），明清之际杰出的思想家，一位在中国古代诗歌理论发展史上承前启后并有重要创造性贡献的文学理论家。其文学评论著作主要有后来被合编为《姜斋诗话》的《诗绎》、《夕堂永日绪论》、《南窗漫记》以及《古诗评选》、《唐诗评选》、《明诗评选》、《诗广传》、《楚辞通释》等。另外，其某些诗词作品序言及不少哲学、史学著作中，也有零散之语。“现量说”作为王夫之诗学的一个重要概念首先由叶朗和萧驰分别在《中国美学史大纲》和《中国诗歌美学》有关章节中提出。此后，学术界对这一课题展开了广泛的研究。有人认为“现量说”是王夫之诗歌创作心理的美学思想。又有人认为，王夫之的“现量说”纠正和改造了中国传统艺术直觉诗论中的缺陷，从艺术的角度看到了中国古诗在艺术思维上具有直观顿悟的特性。不过未见有学者对王夫之把“现量”一词引入其诗学体系的原因做出分析。本文打算从其所处历史环境来分析王夫之提出“现量说”之成因：对王夫之所处时代中受西学影响之风气作统计分析，继而找出他在此时代大环境之下受西学影响之例证，由此证明王夫之援引相宗“现量”入其诗学体系是对时代学风的回应，亦是在“中西化合”的时代背景下所做出的潜在诗学回应。本论文由五个章节组成。第一章绪论，主要对王夫之诗学思想作简要介绍，并对其“现量说”研究之现状作历史性回顾和总结，由此说明本课题的学术背景及理论与实际意义。第二、三、四章，为论文正文部分，分别就论文中心议题展开论证。第二章先就古因明学之“现量”概念做历史语境分析，从唯识在近代再度兴起的缘由提出王夫之研究相宗是基于相同之原因。第三章再从当时时代背景入手，对有明一代影响甚广的《沧浪诗话》做比较研究由此证明王夫之思想亦是受到了西学之影响。第四章从现量说入手，将其置于夫之诗学体系并为其定位，继而援用该说，力图开掘西学对夫之诗学的潜在影响及王夫之在“中西化合”之时代背景下对此所作出的潜在诗学回应。第五章为论文结论部分。总之，本文运用当代王夫之诗学研究成果，结合其时代背景，观察在中西文化碰撞过程中中国传统诗学思想对此所作出的曲折回应，并与对明朝诗学影响甚大的诗学文本作比较研究。相信通过对夫之诗学“现量说”的历史爬抉、理论阐发与比较研究，将能开掘西学对夫之诗学的潜在影响及船山在“中西化合”之时代背景下对此所作出的潜在诗学回应，并借以丰富我国诗学理论，为推进学科持续发展提供相应的理论依据和学理基础。

译文

Wang Fuzhi (1619-1692), an outstanding thinker of the late Ming and early Qing dynasties, was also a literary theorist who made contributions to the Chinese history of poetics. His major works include ShiYi诗绎、XiTangYongRiXuLun夕堂永日绪论、NanChuangManJi南窗漫记, which were compiled into JiangZhaiShiHua姜斋诗

话later and 《古诗评选》、《唐诗评选》、《明诗评选》、《诗广传》、《楚辞通释》,etc. His comments are also found in many other works like prefaces to poem collections and philosophical and historical publications. Pratyaksapramana, or Intuitive Perce ption, an important concept in Wang’s poetics, was first discovered and discussed by Ye Lang and Xiao Chi in the relevant chapters of Gist of the History of Chinese Esthetics and Esthetics of Chinese Poems. Extensive studies have been carried out hereafter in academic circles. Some say Pratyaksapramana is an esthetic thinking in Wang’s poetic production. Others hold that the concept is a remedy for the defects of traditional poetics based on art-guided intuition, seeing the features of straightforwardness and instant enlightenment of approaches to art of ancient Chinese poems. Yet no scholarship has been committed to any adequate inquiry into the reasons for Wang’s introduction into his poeti cs of the concept of Pratyaksapramana. The present paper then is intended to analyze the possible reasons based on the specific historical settings: to conduct an adequate statistical analysis and then analyze the possible influences (mainly implicit) of t he Western thoughts at Wang’s times, and then to find cases of Wang’s subjection to the influences in this regard, demonstrating that his adoption of Pratyaksapramana into his discoursal system was an response to the academic fashion at the time, and also a potential poetic reaction under the context of “Mutual Access of East and West”. This paper consists of five chapters. The first chapter as the introduction is a brief introduction to Wang Fuzhi’s thoughts on poetics, and a historical review and summary of the studies concerning the concept of Pratyaksapramana, showing the academic background and the significances of the subject matter. Chapters two, three, and four are the main body, developing the arguments afore-mentioned. Chapter two starts with a historical contextual analysis of the concept of Pratyaksapr amana of the ancient Hetuvidya, and Wang’s involvement in the study of Dharma Laksana was activated for the same reason as the rejuvenation of Vijnanamatrasiddhi-sastra. Chapter three refers again to the historical background and demonstrates the Western impact on Wang’s thoughts and then makes comparisons with A Poetic Discourse at Canglang 沧浪诗话, a well-known piece of poetics in the Ming dynasty. Chapter four begins with the concept of Pratyaksapramana and puts it into Wang’s poetic system in an attempt to elucidate the potential effects of Western expertise on Wang’s poetics and his responses under the context of “East-West Mutual Access”. Chapter five is a summary based on previous investigations, foregrounding Wang’s subjection to Western influences and foresees the prospect of this subject. To sum up, the present study bases itself on the theoretical outcomes of Wang Fuzhi’s poetics and on the background of the times, observes the indirect responses of traditional poetics of China during the cultural collision between East and West, and conducts a comparative study between poetic texts influential in the Ming dynasty. An adequate emphasis has been given to the value preferences and cultural strategies by culture transmitters, in order to shed light on how to provide theoretical insights and rationale for the promotion of our cultural entity.