【摘要】 明清之际的王夫之,在文学领域有着精深思考,其文论思想往往在继承中有创新,于总结中寓突破。如王夫之的"即景会心"说,从佛家"现量"角度对艺术直觉作了细致辨析,不论是深刻性还是系统性都超过了钟嵘、严羽的相关论述。王夫之对诗歌整体结构的论述也并非首创,但他以"圆"、"净"为核心所提出的"一意"说、"一笔"说等一系列创见,从广度与深度上完善了前人诸说。王夫之对"兴观群怨"的重新阐释,将传统的诗歌功能论提升到了"四情"的本体论高度,并第一次对"兴观群怨"作了接受维度的创造性解读。王夫之还继承了明人对诗乐关系的思考,更为明确地提出了"乐体诗用"的观点,认为诗歌的美感乃至于存在意义都应体现为一种"乐"质,并通过多层特定的节奏运动体现出来。更多还原

【Abstract】 WANG Fu-zhi,who lived in the transition period from Ming to Qing,put forward a series of profound views on literature.His literary theories had initiated creativeness and breakthrough by inheriting his forerunners and on summarizing the previous researches.For instance,the theory of"intuitive emotion"which had a detailed analysis on art instinct from the Buddhist perspective called"pratyaksa"surpassed both ZHONG Rong and YAN Yu in profundity and comprehensiveness.He was not the first who accounted for the holistic frame of poetry,but his series of original ideas,such as the structural ideas of"one-stroke"and"one-meaning"tactfulness and purification for article composition,had perfected the relevant previous ideas in breadth and depth.His creative re-interpretation of the four fundamental functions of poetry put forward by Confucius,namely,"poetry can be used to inspire passions,to describe the world,to associate with others,and to criticize authorities",had not only elevated the traditional understanding but also promoted their ontological value from the perspective of literary reception.In addition,he succeeded the thoughts current in Ming Dynasty about the relationship between poetry and music,and unequivocally developed the idea of"music as the point of departure for poetry",which views that the beauty and even the meaning of poetry should embody a kind of musicality with multi-level and rhythmic movement.更多还原