泊然於聲華馳逐之外－從《二家詩選》看王士禎的神韻詩學

Anchoring Outside the Chase of Clamorous Splendor: A Study of Wang Shi-zhen's Poetics of Shenyun in Erjia Shixuan

10.30092/JHCLANCHU.201103.0001

閔秋英(Chiu-Ying Min)

王士禎 ； 神韻詩學 ； 二家詩選 ； 徐禎卿 ； 高叔嗣 ； 清代詩學 ； Wang Shi-zhen ； Shenyun ； Erjia shixuan ； Xu Zheng-qing ； Qing Poetics

興大人文學報

46期（2011 / 03 / 01）

1 - 30

繁體中文

古典文學發展至清，尤其是詩歌理論，已是繁榮多變的景象，主要有王士禎的「神韻說」、沈德潛的「格調說」、袁枚的「性靈說」、翁方綱的「肌理說」……等，就「詩學論述」而言，清代是十分豐富的！王士禎匯聚有清以來詩人對詩歌創作的主張，加以反省與開創，提出「神韻」之說，成為清初最重要也最具影響的詩論。他的詩歌及其詩論也正代表了清初氣象。一般學者論述神韻說，大致均從王士禎個人詩集、詩評論及筆記來談，其中詩人所編的詩選集，雖非作家個人的創作，卻往往蘊含詩人的審美觀，亦能體現其詩學理念。故四庫全書所收錄王士禎編選之詩集《唐賢三昧集》、《二家詩選》、《唐人萬首絕句選》實頗值得深究。惟《唐賢三昧集》乃士禎刪改早期所編選的私塾教本《神韻集》而成，由於《神韻集》為人竄改，因此晚年王士禎特別再編選《唐賢三昧集》，此時其神韻詩學已成熟，故專錄盛唐詩作。然《唐賢三昧集》歷來已為學者注意。至於《唐人萬首絕句選》乃王士禎就宋‧洪邁的原本加以選錄，已非全為士禎所選之詩，故王士禎編選三本詩集中，惟《二家詩選》是其「神韻詩學」成型過程中的選集，而在此時期，王士禎別具隻眼地選錄了明七子中徐禎卿及高叔嗣的作品，實頗堪玩味。王士禎對徐禎卿與高叔嗣兩位詩人向來評價極高，他個人也曾表白受徐禎卿《談藝錄》的影響極深。任何一位文學理論家或文學家的產生必有其傳統的承續，《二家詩選》選錄時期，雖未屆士禎神韻說成熟的晚期，但王士禎曾言其深受徐禎卿的影響，《二家詩選》又特別選錄了徐禎卿的作品，故正可以略窺神韻說成型的脈絡。故本論文即以四庫全書所錄之《二家詩選》為材料，分析王士禎選錄詩歌的標準，考辨《二家詩選》所展現的藝術特質及美學觀，並以之考察其與王士禎晚年成型之神韻詩論的分合。

In the Qing dynasty, classical literature, especially poetic theories, abundently developed, which includes ”The Theory of Intuitive Charm” (Shenyun shuo神韻說) by Wang Shi-zhen(王士禎), ”The Theory of Style” (Gediao shuo格調說) by Shen De-Qian (沈德潛), ”The Theory of Spirituality” (Xingling Shuo性靈說) by Uan Mei (袁枚), 'The Theory of Literary Texture” (Jili shuo肌理說) by Ong Fang-Gang (翁方綱), and others. In the ”discourses of poetics,” Qing dynasty is extremely rich. Wang Shi-Zhen accumulated all the ideas of poetic creations by previous Qing poets and after the reexamination and innovation of them, he then proposed his theory of ”Shenyun,” which serves as the most important and influential poetics in early Qing. His poetry and poetics now represent early Qing.When dealing with Shenyun shuo, scholars generally discuss the anthologies of poetry edited by Wang Shi-Zhen, his criticism of poetry, and his informal note-taking. These anthologies, though not of his creation, contain his view of aesthetics and reveal his ideas of poetics. Therefore, the anthologies of ”A Collection of Three Essences of Tang Wise Men” (Tangxian sanmei ji唐賢三昧集), ”Selected Poems of Two Masters” (Erjia shixuan二家詩選), and ”A Collection of Tang People's Ten Thousand Quatrain” (Tangren uanshou jueju xuan唐人萬首絕句選), made by Wang and included in ”Complete Books of Four Divisions” (Siku quanshu四庫全書), are worth a full exploration.Yet, because Tangxian sanmei ji was an adapted version from his early tutoring textbook ”The Anthology of Intuitive Charm” (Shenyun Ji神韻集), and because the latter had been altered, Wang reedited Tangxian sanmei ji in his old age. By then, his poetics of Shenyun had reached its maturity; thus he included only poems written in the Tang dynasty. Thereafter, Tang xian san mei ji has always attracted scholarly attention. Wang edited Tangren uanshou jueju xuan on the basis of an early anthology by Hong Mai (洪邁) in the Song dynasty. However, the Tarigren uanshou jueju xuan did not only contain Wang's poems. Of his three anthologies of poetry, Erjia shixuan was the only one he edited in an early period when he was about to form his poetics of Shenyun. In this period, Wang selected the poems by Xu Zheng-Qing (徐禎卿) and Gao Shu-Si (高叔嗣), who were among the Seven Men of Letters of Ming dynasty-an act worthy of one's deep reflection.Wang Shi-Zhen had long praised Xu Zheng-Qing and Gao Shu-Si highly, and he claimed to have been greatly influenced by Xu Zheng-Qing's ”A Talk of Art” (Tanyi lu談藝錄), Any man of literature or literary theories, inevitably, inherits tradition. While Erjia shixuan was being editied, Wang's Shenyun had not yet reached its theoretical maturity; nevertheless, by the fact that Wang once said he was greatly affected by Xu Zheng-Qing , and that Erjia shixuan included some of Xu's works, the reader may thereby grasp the way Shenyun was being shaped. As a consequence, this thesis aims to analyze Wang's criteria of poetry selection according to Erjia shixuan in Siku quanshu, to explore the artistic features and aesthetics of this anthology, and, finally, to inspect its relation to Wang’s later ideas of Shenyun.

1. 明胡應麟(1973)。詩藪。臺北:廣文。
2. 梁蕭統編(1991)。文選。臺北:藝文印書館。
3. 清紀昀總纂(1986)。景印文淵閣四庫全書‧集部八。臺北:臺灣商務。
4. 清翁方綱(1972)。石州詩話。臺北:廣文。
5. 王士禎(2000)。漁洋山人精華錄。北京市:北京出版社出版。
6. 王夫之、丁福保編(1979)。清詩話。臺北:西南。
7. 王叔岷(1992)。鍾嶸詩品箋證稿。臺北:中研院中國文哲研究所。
8. 朱立元編(2000)。二十世紀西方美學經典文本。中國上海市:復旦大學出版社。
9. 張宗柟纂集、戴鴻森校點(1998)。帶經堂詩話。北京:人民文學出版社。
10. 黃永武(1976)。中國詩學‧設計篇。臺北:巨流出版社。
11. 黃景進(1980)。王漁洋詩論之研究。臺北:文史哲出版社。
12. 劉勰(1994)。文心雕龍。臺北:里仁書局。
13. 蔡鎮楚(2001)。中國詩話史。湖南長沙市:湖南文藝出版社。
14. 鄭毓瑜(1996)。六朝情境美學綜論。臺北:臺灣學生書局。