吳喬《圍爐詩話》的比興説

The Bixing Theory of Wu Qiao’s Weilu Shihua

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

吳喬（1611—1695）是明清之際的詩人和詩學理論家，所著詩學論著，現存的有《逃禪詩話》一卷、《圍爐詩話》六卷、《答萬季野詩問》一卷、《答萬季野詩問補遺》一卷和《西崑發微》三卷等。他認為詩是經史之學，主張詩中有人，詩要有意，反對把詩視為應酬工具，而賦、比、興三者是寫詩和評鑒詩歌的重要法則。他拿以上的主張來銓衡詩歌發展，評論詩人的成就高下，成就他的詩學理論，清初《談龍錄》作者趙執信（1662—1744）很欣賞他的詩論，三次尋訪《圍爐詩話》；史學家萬斯同（1638—1702）執弟子禮，才有兩種《詩問》，可見吳喬的詩學理論在當時受到重視。

在吳喬的詩學理論架構中，比興説是重要的支柱。他把《詩經》視為詩歌的不祧之宗，而《詩經》中的詩篇是有為而發的，説《詩》者可以因事以逆知其意。作《詩》者運用赋比興三義，成為後世詩人的楷模，因此能符合三義，尤其比興二者的，成績便卓然，否則即使極文字之工，而沒有詩意的，都不是好作品。吳喬運用這詩學觀點，去研究詩歌的發展，評論作品的優劣，從漢一直到明。以詩人論，他崇高杜甫，而李商隱號稱善學杜甫，所以又用比興論李商隱詩。以時代言，他重視唐而貶抑宋、明，尤其不滿明代前後七子的詩作。在六卷《圍爐詩話》中，有數十條談論赋比興的文字，較他別的詩學論著所説為多。選取《圍爐詩話》中的比興説來研究，可以清楚了解吳喬的詩學理論的核心，並為研究這本詩話在比興説發展史上的地位作準備。

Wu Qiao (1611-1695) was a poet as well as a poetics theorist of the late Ming and early Qing period. His extant works on poetics theory include one volume of Tao Chan Shihua, six volumes of Weilu Shihua, one volume of Da Wan Guiye Shi Wen, three volumes of Xikun Fa Wei, etc. He believed that poetry was a discipline of jing (Confucian classics) and shi (history). Wu advocated that when composing poetry, the poet should reflect his emotions on his works and also convey messages through the poetry. He objected to people who regarded writing poetry as a means of social intercourse. The major guidelines to compose and evaluate poetry were: Fu, Bi and Xing (three allegories used in Chinese writing). Wu applied these rules to assess the achievement of the poets and accomplished his own poetics theory as well. Zhao Zhixin (1662- 1774), the author of Tan Long Lu admired Wu's poetics theory and historian Wan Sitong (1638-1702) even acknowledged Wu as his teacher. These revealed the importance and impact of Wu's Poetics theory in his times.

Bixing is the major skeleton of Wu Qiao's poetics theory. Wu regarded Shijing (The Classic of Songs) as the origin of all poetry. He believed that the poetry compiled in Shijing revealed some incidents or the poets' feelings and thought. The critics on Shijing could therefore interpret the poetry from different perspectives. Writers of Shijing used Fu, Bi and Xing as the writing modes to compose poetry. The three modes then became the templates of the poets later. If a poet could write poetry that fulfill the three modes, especially Bixing, then his works could be regarded as good pieces. Otherwise, they were not even if the works were flowerily written. Wu Qiao investigated the development of poetry (from Han to Ming) and accessed the merits of the poetry by applying the Bixing theory. He praised Du Fu highly. As Li Shangyin was famous for his well imitation and adaptation of Du Fu's poetry, Wu Qiao also evaluated Li's poetry by adopting the Bixing theory. Wu praised Tang's poetry and depreciated those in Song and Ming. He was particularly dissatisfied with the poetry of the late seven poets (Hou Qi Zi) of Ming Dynasty. In Wu Qiao's Weilu Shihua, there were tens of items discussing the Bixing which were obviously more than that in his other works. By looking into the Bixing theory of Weilu Shihua, this paper aims at investigating more about the crux of Wu Qiao's poetics theory and paves way for future discussion on the importance of Weilu Shihua in the development of bixing theory.