【摘要】 与西方诗学关注“模仿”的外在客观化表述不同，中国诗学在阐述诗歌之本质时采取了一种内倾化或者说人性化的视角，“诗本性情”的命题便是明证。事实上，“性情”这一范畴，既与“天”“道”“命”等形上概念相关，又与“人”“物”“欲”等形下概念相契。它首先是先秦儒家“究天人之际”（所谓“性与天道”）的思想结晶，而后成为人性论的重要成果，进而转化为传统儒家诗学的核心范畴，成为衡量和评判诗之本质和诗之境界的根本准则。从“性情儒学”到“性情诗学”的转化和演进，体现了中国传统文化无所不在的人学根柢和情本特质。更多还原

【Abstract】 Unlike the external objective description embodied in Western poetry that focuses on “imitation,” Chinese poetry takes up an introvert or personified perspective in spelling out the nature of poetry, which kicks out the topic of “disposition poetry.” In the fields of ancient Chinese literature discussion and aesthetical research, however, scholars are inclined to argue more through the broad meanings of Chinese philosophy or classic poetry and less or being obscure through the Confucian philosophical backdrop of “disposition” concept. There has been a lack of sufficient emphasis and effective explanation in the existing scholarship on the process of historical transition and thought conceptualization of “disposition” concept from Confucian philosophy to Confucian poetry. As a matter of fact, the concept of “disposition” is congruous with not only metaphysical notions including “heaven,” “dao,” and “fate” but also physical concepts such as “human,” “matter,” “desire” and the like. The concept initially was the consummation of the pre-Qin Confucian idea of “exploring the relationship between heaven and human”(the so-called “disposition and heavenly dao”). Later it became the important fruit of the study of human nature before it transformed into the core concept of the traditional Confucian poetry and turned into the fundamental yardstick of judging and evaluating poetry’s nature and spirit.The transformation and evolution from “Confucianism of disposition” to “Poetics of disposition” epitomize the omnipresent root of human study and dispositional characteristic of Chinese traditional culture.更多还原