中国古代诗学，自陈良运先生发表《中国古代诗歌理论的一个轮廓》陈良运：《中国古代诗歌理论的一个轮廓》，《文学遗产》1985年第1期。以来，作为一门新兴学科，引起古典文学研究者和文学理论家的学术兴趣，已有《诗学体系论》《中国诗学通论》《中国诗学批评史》《中国诗学史》等专著相继出版，成为一门显学。何谓“诗学”？一般有两种理解，广义的与西方的含义一致，指文艺理论或文学理论。它源于古希腊哲学家、诗学家亚里士多德的文艺理论专著《诗学》。亚氏在这部著作里，以史诗、悲剧和喜剧作为研究的对象，讨论了“关于诗的艺术本身、它的种类、各种类的特殊功能，各种类有多少成分，这些成分是什么性质，诗要写得好，情节应如何安排，以及这个研究所有的其他问题”。［古希腊］亚里士多德：《诗学》，罗念生译，人民文学出版社1982年版，第3页。当然，这里的诗，主要指以叙事为主的史诗和戏剧。所谓诗学，也就是关于叙事文学的理论与评论，这已为世人所共识。狭义的诗学，在中国则专指诗歌理论。这个理解，除了特殊指称(如“诗经学”，简称“诗学”；或古代将诗歌创作也称为“诗学”)外，已延续了千余年之久。《汉书·翼奉传》曰：“诗之为学，性情而已”(汉)班固：《汉书》卷七十五，中华书局1975年版，第3170页。，大概是中国最早的诗学概念。以“诗学”来命名的诗话类著作有元代范梈的《诗学禁脔》，明代周叙的《诗学梯航》，清代顾龙镇的《诗学指南》等，这些所谓的“诗学”，多是指诗歌的创作技法，与前朝的那些“诗格”“诗法”应是一类的。现代语境中的中国古代诗学，主要指狭义的诗学。如陈伯海、蒋哲伦主编的《中国诗学史》“导言”说：“在我们自己的传统里，惯常的做法是将‘诗学’限制在与诗歌这一特定文类有关的范围之内，不包含散文、小说、戏剧等文类的研究，因而‘诗学’便成了‘文艺学’……”明确表示其所编的《中国诗学史》之“诗学”“仅限于跟‘诗’有关的领域”陈伯海、蒋哲伦主编：《中国诗学史》，鹭江出版社2002年版，第1页。。蒋寅从比较诗学视野出发，认为中国诗学“核心在一个‘学’字，这个‘学’不仅包括历来人们对诗歌本身及其创作方法的认识，还应包括古今人对诗歌史的认识及对认识过程的反思。”他认为中国诗学应该包含五个方面的内容：( 1)诗学文献学，( 2)诗歌原理，( 3)诗歌史，( 4)诗学史，( 5)中外诗学比较。蒋寅：《中国诗学的思路与实践》，广西师范大学出版社2001年版，第2页。当然，泛化的诗学概念在中西古典文论和文学批评史上都曾出现过。本书所谓“诗学”，并非指亚里士多德所说的包括一切文艺理论在内的广义“诗学”，而是现代通常所说的狭义的“诗学”，即有关诗歌这一特定文体的理论。在中国，诗的概念始终没有像西方那样广泛。“诗”在先秦专指《诗三百》(即《诗经》)，后来逐渐成为一种文体的名称，包括五言、七言和杂言的古近体诗，也包括后来的词和曲。中国是一个诗歌的国度，特别是在古代，诗歌作为各种文体之首，被推到了“经国之大业，不朽之盛事”(东汉)曹丕：《典论·论文》，郭绍虞主编：《中国历代文论选》，上海古籍出版社1979年版，第61页。的至高地位，上至帝王朝臣，下到贩夫走卒，人人皆能歌诗。诗的普及度、诗的地位如此之高，没有哪个国家能够比得上古代中国。在小说、戏剧文体出现之前，只有诗，才谈得上是一种纯文学样式，也只有诗的理论与品评才谈得上是纯文学理论。所以，中国古代的文学理论，实质上是建立在诗歌理论基础上的，可谓真正的诗学。中国人在观照世界、把握世界时，一开始就采取了一种直观性的、整体性的思维方式。对理性思维的结果，采用一种非逻辑性的语言，借助感性形式来表述理论内涵，这是中国古代诗学的主要言说方式。中国古代学者对诗学义理的阐述，不是枯燥缜密的理性阐释，而多为精到的直观把握和感性的描述，言约意丰，耐人寻味。比如说某诗好，是“初如食橄榄”；不好，则是“初如食小鱼，所得不偿劳”。在评论风格时，这种表述便成为一种标准的方式，如“魏武帝如幽燕老将，气韵沉雄。曹子建如三河少年，风流自赏。鲍明远如饥鹰独出，奇矫无前……”(宋)敖陶孙：《诗评》，中华书局1985年版，第1页。陆机的《文赋》，用“赋”这一文学体裁来论文，而司空图的《诗品》，纯粹是二十四首诗。这种借助感性形式来表现理性思维、形象化，或用诗的言语来表达文学见解的言说方式，一方面，利用或叙或议的诗境，扩大了读者想象空间的形式，蕴含着丰富的理论信息；另一方面，也正因为这种表述方式，造成了中国古代诗学的理论缺陷。一是因为讲的是总体印象，不作全面细致的分析，因而往往有以偏概全的弊病；二是因为作家感情介入，往往会带来一定的主观片面性；三是因为习惯上用高度诗化的语言表达感性直觉的印象而不是理性概念，而这种感性直觉的印象在本质上无法界定其含义，往往使人看不明白，难以理解；四是概念、范畴含义模糊，同一术语表示不同含义，以及不同的术语表示同一含义等，造成同一概念、命题的多义性和使用上的随意性，不像西方的理论那样概念清晰，富有逻辑性。这使得中国古代诗学理论从表面上看，缺少科学性、系统性。从中国古代诗学的表现形态看，经验型、感兴式的片言只语，往往不容易使人将其与具有严密逻辑性的理论体系挂起钩来。其实这里有一个外在表现与内在本质的关系问题。中国古代诗学是否有体系？关于这个问题，回观其建构的历史因素，一是思想文化背景复杂，儒、道、佛诸家都有不同的特点或系统，在不同的思想指导下有不同的诗学思想和著作；二是大部头的著作很少，史学理论多散见于诗话、词话、序跋、书信中，比较松散杂乱零碎，而不像西方那样有众多体系完备的理论著作；三是许多诗论家，本身就是著名的诗人、词人，他们的理论表述，或许是其不经意间的创作经验交流，诗歌鉴赏感悟的升华，具有鲜活的经验性质，难有完整的理论体系。但中国古代诗学理论大都建立在或对前辈师长的承继中，或对经典文献的阐释中，或对某一理论范畴的批评中。从表面看，只是列举前人若干诗论，无非老生常谈，但集合在一起，就表达了其新的看法，寄寓了自己的意旨。弟子与师长、后人与前人之间，潜藏着种种内在的精神传承。正是在这样的一种传承与变革中，逐渐形成了中国古代诗学体系。这个体系不以个人的形式出现，而是以范畴作为核心，历经千百年而不衰。如“形神”“风骨”“意境”等都是如此。它是流动的，而非固定的。神龙见首不见尾，东露一鳞，西露一爪，但不等于其首尾的不存在。研究者的目的就是要拨开云雾，把其首、尾、爪、须，乃至片片鳞甲完整地描绘出来，显现一个整体。马克思在《资本论》中说：“研究必须充分地占有资料，分析它的各种发展形式，探寻这些形式的内在联系。只有这项工作完成以后，现实的运动才能适当地叙述出来。这点一旦做到，材料的生命一旦在观念地反映出来，呈现在我们面前的就好像是一个先验的结构了。”马克思：《资本论》第一卷，人民出版社2004年版，第21—22页。这段话给我们研究者指出了一条思路，研究古代诗学，当先从古代诗学理论特定的范畴、命题和论证方法入手，逐步上升到一些理论专题，以至总体结构。为什么要这样做呢？因为一种理论形态就其整个体系而言，好比是一张网络，体系所赖以建构的各个命题、范畴好比网络上的点眼，点眼的纵横交错扭结成网络。所以研究古代诗学，当从最典型意义的范畴、命题和批评方法入手，从个别到一般，从局部到全局，最终就能建构起整个古代诗学的体系。范畴，本为哲学名词。辩证唯物主义认为，范畴是反映客观事物的本质联系的思维形式，是人的思维对事物的本质特性方面和关系的概括反映。所谓诗学理论范畴，就是诗人、批评家对诗歌的本质、特性及其内在关系的概括和反映。中国古代诗学在其演变和发展过程中，形成了一系列独具特色的基本命题和范畴，这些命题和范畴对我们正确认识古代诗学理论体系有着重要意义。本书选择了中国古代诗学部分命题、范畴——诗言志、言意象、风骨、虚静、意象、意境、滋味、妙悟、神韵、性灵等，以历史资料为依据，以检索、考据、梳理为主要方法，从其缘起的历史文化语境、诗歌创作状态以及诗学理论自身的生态环境等入手，探求该范畴、命题的历史生成及其原始意义；从历史发展的角度，梳理其衍变、发展的流程，探求其衍生之新义。以历时性和共时性为结构线索，从其哲学社会思潮、道家禅宗悟性、文学传播接受、诗学内在结构等方面探求其命题、范畴的发生、衍变、发展的规律及其现代意义的转换。

Ancient Chinese Poetics, since Mr. Chen Liangyun published "An Outline of Ancient Chinese Poetry Theory", Chen Liangyun: "An Outline of Ancient Chinese Poetry Theory", Literary Heritage, No. 1, 1985. Since then, as a new discipline, it has aroused the academic interest of classical literature researchers and literary theorists, and monographs such as "Theory of Poetic System", "General Theory of Chinese Poetics", "History of Chinese Poetic Criticism" and "History of Chinese Poetics" have been published successively, becoming a prominent science. What is "poetics"? There are generally two understandings, the broad sense is consistent with the Western meaning, referring to literary theory or literary theory. It is derived from the ancient Greek philosopher and poetic Aristotle's treatise on literary theory "Poetics". In this work, using epics, tragedies, and comedies as objects of study, Arsh discusses "questions about the art of poetry itself, its kinds, the special functions of each class, how many components there are in each class, what the nature of these components is, how well the poem should be written, how the plot should be arranged, and all the other questions of this study." [Ancient Greek] Aristotle: Poetics, translated by Luo Niansheng, People's Literature Publishing House, 1982, p. 3. Of course, poetry here mainly refers to epic poems and dramas that are mainly narrative. The so-called poetics, that is, the theory and criticism of narrative literature, has been recognized by the world. Poetics in the narrow sense, in China, refers exclusively to poetry theory. This understanding, in addition to special referents (e.g., "poetics", abbreviated as "poetics"; Or in ancient times, poetry creation was also called "poetics", which has lasted for more than a thousand years. The Book of Han Yi Fengchuan says: "Poetry is for learning, temperament is only" (Han) Ban Gu: Book of Han, vol. 75, Zhonghua Bookstore, 1975 edition, p. 3170. , probably the earliest poetic concept in China. Poetry works named after "poetics" include Fan Zhao's "Poetics Forbidden Neck" in the Yuan Dynasty, "Poetics Ladder Voyage" by Zhou Xu in the Ming Dynasty, and Gu Longzhen's "Poetics Guide" in the Qing Dynasty. Ancient Chinese poetics in the modern context mainly refers to poetics in a narrow sense. For example, the "Introduction" to the History of Chinese Poetics edited by Chen Bohai and Jiang Zhelun says: "In our own tradition, it is customary to limit 'poetics' to the scope related to poetry, a specific genre, and does not include the study of essays, novels, dramas, etc., so that 'poetics' has become 'literature and art'..." It is clearly stated that the "poetics" of the "History of Chinese Poetics" compiled by him are "limited to the field related to 'poetry'" Chen Bohai and Jiang Zhelun, eds.: History of Chinese Poetics, Lujiang Publishing House, 2002, Page 1. Starting from the perspective of comparative poetics, Jiang Yin believes that the core of Chinese poetics is a 'study', and this 'learning' includes not only people's understanding of poetry itself and its creative methods, but also the understanding of the history of poetry and reflection on the process of understanding by ancient and modern people." He believes that Chinese poetics should include five aspects: (1) poetic philology, (2) principles of poetry, (3) poetry history, (4) poetic history, (5) comparison of Chinese and foreign poetics. Jiang Yin: The Idea and Practice of Chinese Poetics, Guangxi Normal University Press, 2001, p. 2. Of course, generalized poetic concepts have appeared in the history of Chinese and Western classical literary theory and literary criticism. The so-called "poetics" in this book does not refer to Aristotle's broad "poetics" that includes all literary and artistic theories, but to the narrow sense of "poetics" commonly known in modern times, that is, the theory of poetry as a specific genre. In China, the concept of poetry has never been as broad as in the West. "Shi" in the pre-Qin dynasty specifically referred to the Three Hundred Poems (i.e., the "Book of Poetry"), and later gradually became the name of a genre, including ancient modern poems with five words, seven words and miscellaneous words, as well as later words and songs. China is a country of poetry, especially in ancient times, poetry, as the first of various genres, was pushed to "the great cause of the country, the grand event of immortality" (Eastern Han Dynasty) Cao Pi: "Classics and Essays", edited by Guo Shaoyu: "Selected Writings of Chinese Dynasties", Shanghai Ancient Books Publishing House, 1979 edition, p. 61. From the imperial courtiers to the pawns of the peddlers, everyone can sing poetry. The popularity of poetry and the status of poetry are so high that no country can compare with ancient China. Before the emergence of novels and dramas, only poetry could be said to be a pure literary style, and only the theory and evaluation of poetry could be talked about as pure literary theory. Therefore, the ancient Chinese literary theory is essentially based on poetry theory, which can be described as true poetics. Chinese when looking at the world and grasping the world, he adopted an intuitive and holistic way of thinking from the beginning. For the results of rational thinking, using an illogical language and using perceptual forms to express theoretical connotations, this is the main way of speech in ancient Chinese poetics. The exposition of poetic doctrine by ancient Chinese scholars is not a boring and meticulous rational interpretation, but mostly a refined intuitive grasp and perceptual description, which is rich in meaning and intriguing. For example, if a poem is good, it is "the first is like eating olives"; If it is not good, it is "like eating small fish at the beginning, and the income is not paid". When commenting on style, this expression becomes a standard way, such as "Emperor Wudi of Wei is like a veteran of Youyan, with a deep temperament." Cao Zijian is like a young man of three rivers, and he appreciates himself. Bao Ming is far from being alone like a hungry eagle, and he is strangely corrected..." (Song) Ao Taosun: "Poetry Review", Zhonghua Book Company, 1985 edition, p. 1. Lu Ji's "Wenfu" uses the literary genre of "Fu" to write essays, while Sikong Tu's "Poems" are purely twenty-four poems. This way of speaking with the help of perceptual forms to express rational thinking, visualization, or use poetic words to express literary opinions, on the one hand, uses the poetic context of narration or discussion to expand the form of readers' imagination space and contains rich theoretical information; On the other hand, it is precisely because of this expression that it has caused the theoretical shortcomings of ancient Chinese poetics. First, because it talks about the overall impression and does not make a comprehensive and detailed analysis, it often has the drawback of partial generalization; Second, because the writer's emotional intervention often brings a certain degree of subjectivity and one-sidedness; Third, because it is customary to express the impression of perceptual intuition rather than rational concept in highly poetic language, and this impression of perceptual intuition cannot define its meaning in essence, and often makes people incomprehensible and difficult to understand; Fourth, the meaning of concepts and categories is ambiguous, the same term means different meanings, and different terms represent the same meaning, etc., resulting in the ambiguity and arbitrariness of the use of the same concept and proposition, which is not as clear and logical as Western theories. This makes the ancient Chinese poetic theory superficially lacking scientific and systematic. From the perspective of the expression of ancient Chinese poetics, empirical and emotional fragments of words are often not easy for people to link them with a theoretical system with strict logic. In fact, there is a problem of the relationship between external manifestation and internal essence. Is there a system of ancient Chinese poetics? Regarding this issue, looking back at the historical factors of its construction, first, the ideological and cultural background is complex, Confucianism, Taoism, and Buddhism all have different characteristics or systems, and have different poetic ideas and works under the guidance of different ideas; Second, there are few tomes, and historical theories are scattered in poems, words, prefaces, and letters, which are relatively loose and scattered, rather than many well-structured theoretical works like in the West; Third, many poets are themselves famous poets and lyricists, and their theoretical expression may be their inadvertent exchange of creative experience, the sublimation of poetry appreciation and perception, with a vivid empirical nature, and it is difficult to have a complete theoretical system. However, most of the ancient Chinese poetic theories are based on the inheritance of predecessors, or in the interpretation of classic texts, or in the criticism of a certain theoretical category. On the surface, just listing a few poems of predecessors is nothing more than cliché, but taken together, it expresses his new views and expresses his own intentions. Between disciples and teachers, descendants and predecessors, there are all kinds of inner spiritual inheritance. It is in this kind of inheritance and transformation that the ancient Chinese poetics system is gradually formed. This system does not appear in the form of individuals, but with categories as the core, which has endured for thousands of years. Such as "shape god", "wind bone", "artistic conception" and so on. It is fluid, not fixed. The divine dragon sees the head and does not see the tail, the east shows a scale, and the west shows a claw, but it does not mean that its head and tail do not exist. The purpose of the researchers is to clear the clouds and mist, and completely depict their heads, tails, claws, whiskers, and even pieces of scales, showing a whole. Marx said in Capital: "Research must fully possess the data, analyze its various forms of development, and explore the internal connections of these forms." Only when this work is completed can the movement of reality be properly narrated. Once this is done, once the life of the material is conceptually reflected, what is presented to us is like a priori structure. Marx: Capital, vol. 1, People's Publishing House, 2004, pp. 21-22. This passage points out a line of thought for our researchers, to study ancient poetics, starting from the specific categories, propositions and argumentation methods of ancient poetic theory, and gradually rising to some theoretical topics and even the overall structure. Why would you want to do that? Because a theoretical form is like a network as far as its entire system is concerned, the propositions and categories on which the system is constructed are like the dot eyes on the network, and the crisscrossing of the dots and eyes is twisted into a network. Therefore, when studying ancient poetics, when starting from the most typical categories, propositions and critical methods, from the individual to the general, from the local to the global, we can finally construct the entire system of ancient poetics. Category, originally a philosophical term. Dialectical materialism believes that category is a form of thinking that reflects the essential connection of objective things, and is a generalized reflection of the essential characteristics and relationships of things by human thinking. The so-called category of poetic theory is the summary and reflection of poets and critics on the essence, characteristics and internal relationships of poetry. In the process of its evolution and development, ancient Chinese poetics has formed a series of unique basic propositions and categories, which are of great significance to our correct understanding of the theoretical system of ancient poetics. This book selects some propositions and categories of ancient Chinese poetics, such as poetry and speech, speech imagery, wind bone, void quiet, imagery, artistic conception, taste, enlightenment, Shen Yun, sexual spirit, etc., based on historical data, with retrieval, examination and combing as the main methods, starting from the historical and cultural context, poetry creation state, and the ecological environment of poetic theory itself, etc., to explore the historical generation and original significance of this category and proposition. From the perspective of historical development, this paper sorts out the process of its evolution and development, and explores the new meaning of its derivation. Taking diachronic and synchronic as structural clues, this paper explores the laws of occurrence, evolution and development of its propositions, categories, and the transformation of its modern meaning from the aspects of philosophical and social trends, Taoist Zen enlightenment, literary communication and acceptance, and the internal structure of poetics.（AI翻译）