《人间词话》是近代文论研究的一部巨著，它一经刊出，就立即引起了学术界的重视，产生巨大的轰动，其影响延续至今。对类似于《人间词话》这样的巨著进行研究在任何时候都是非常有价值的。实际上，在近一百年的研究中，不仅已经涌现出了许多著名的专家，而且还取得了许多引人瞩目的成果。但是，总体来看，过去的研究还存在着过分强调西方哲学对《人间词话》的影响、而简单用西方文化思想阐释《人间词话》的不足之处，存在着简单采取寻章摘句式的论证、而不对《人间词话》作真正意义上的深层解析的失误。另一方面，《人间词话》总结中国文学特性，突出中国文学为人生的基本精神，强调文学的纯粹审美性和向上的超越性，正与时代的三大主题——日益掀起的民族文化运动；批判文学的商品化，重新诉求文学的审美性；批判技术理性，关怀人自身——相符。正是基于上述考虑，我们认为研究《人间词话》具有极深刻的理论意义和现实意义。

王国维是中国情性本体论的集大成者，而《人间词话》是他在美学和文论方面体现情性本体观念的代表作。本书以《情性为本——〈人间词话〉文学观念研究》作为题目，目的就在于要深层揭示《人间词话》所内含的情性本位的美学意蕴，系统阐发王国维在情性本体观念支配下所表述的文学观点，同时表明对类似于《人间词话》这样的文艺理论著作的研究应该立足中国，走中国自己道路的理念。

在此思想指导下，本书以情性本位观念为统领，紧扣《人间词话》诠释的中国文学特性这一问题，从情性是中国文学的本体，人生艺术化境界即成就中国文学特性的主体精神条件，内在情性的客观化即诗性话语结构，道艺为一即中国文学艺术的至境四个方面展开论述。本书共分五章，依据《人间词话》“境界”的内涵，采取总—分—总的结构，即第一章阐述王国维对中国传统情性本体观的继承和发展，是全文的基础，是总；第二、三、四章是从文学主体和文学文本两个角度在情性本体论基础上对《人间词话》总结的中国文学特性展开阐述，是分；最后一章是前四章的综合提升，阐述文学艺术达至的最高艺术境界——“道艺为一”之境，是总。

第一章，情性：中国文学的本体。本章主要阐释王国维对传统情性本体观的继承和发展，论证文学的本体是情性，这是本书得以展开的基础。本章首先分别探讨了中西哲学以及王国维对情性的认识，然后考察了中国哲学、美学中“情本体”和“性本体”两种本体论的实质、内容、发展历程及其在文论中的体现；接着考察不同于情本体和性本体的第三种本体论传统，即“情性”本体论的发展历程及其在中国文论史上的体现，论证王国维所持的文学本体论是对传统情性本体论的继承和发展；最后在对比中西文化之根本不同的同时，阐释“情性”本体论的特征，强调研究中国文学和《人间词话》应该立足于中国文化。

第二章，《人间词话》：探讨中国文学特性的文论著作。本章概述《人间词话》总结的中国文学特性的基本内容，首先区分了“文学特性”与“文学性”两个概念，提出中国文论在整体上是对中国文学特性探讨的观点，并探讨在王国维“境界”说之前的以“意境”说为代表的中国传统文论对中国文学特性的论述。接着论述王国维“境界”说是对中国文学特性高度概括的观点，对“境界”一词的渊源、含义及其概述的中国文学特性的基本内容等进行阐发。最后，在上面论述的基础上探讨了“意境”与“境界”的根本区别。

第三章，人生艺术化境界：成就中国文学特性的主体精神条件。本章主要在情性本体观念基础上阐述《人间词话》所主张的艺术主体应该具备高度自由的超越性精神的观点，首先阐释了王国维的文学超越性思想，论证文学要有境界，要有超越性，艺术主体必须首先具备相应的超越性精神，具有艺术化的精神境界；然后，分别阐述儒家“仁”的审美境界、释家“空”的审美境界、道家“游”的审美境界对王国维人生观和文学观的影响；最后，论述王国维吸收了三家审美境界论以后，在自己的人生体会和文学创作实践基础上，而形成的独特的人生审美境界论和文学观，即他提出的有我之境和无我之境。

第四章，诗性话语结构：内在情性的客观化。文学毕竟是语言艺术，仅有艺术化的人生境界还不够，还需要有系统化的诗性话语，才能成就有境界的中国文学，所以本章主要是在情性本体观念基础上从文学样式、文学语言、文法等方面即文学自身的审美价值方面阐述王国维对中国文学特性的认识。首先重申文学情性为本的观点，同时又认为王国维提出了情性在特定的文学样式中有特定体现的主张，由此讨论了王国维说的“诗之景阔，词之言长”这段话，亦即“要眇宜修”论。文学是语言的艺术，研究中国文学特性必须研究中国文字的特征，而艺术化了的汉文字，不仅充满审美情趣，而且以追寻“情致”、达至情性为旨归，这直接影响到中国文学审美特性的形成。因此，本章依据《人间词话》的具体论述，接着从汉文字的字形、声韵、字义等几方面详细地阐述了汉文字对中国文学特性的具体影响。最后，本章分析阐发王国维虚实相涵的文学文法思想，揭示文学文法对中国文学特性形成的影响。

第五章，道艺为一：中国文学艺术的至境。本章主要阐发王国维关于中国文学艺术最高境界的论述。首先认为王国维将“道艺为一”作为艺术的最高境界，并对“道艺为一”的基本内涵进行阐释。然后详细考察了王国维“道艺为一”观在《人间词话》中的具体体现：创作过程方面，强调身与物化，神与物游，达到人天的契合无间；创作方法上，高度重视文学的自然天成之美；从作品方面看，宇宙本体——情性或道是文学的终极归宿。最后，将王国维所说的文学“不隔”境界放到中国文学艺术最高境界的地位上进行再认识。

结论。本书在结论部分再次强调《人间词话》是王国维继承和发展中国传统情性本体论，并将其应用到文学批评实践的代表性理论著作，强调《人间词话》在深层思想上与中国传统文化及其文论的紧密关联，重申对于《人间词话》这样一部特殊著作的研究应该立足于中国文化，走自己道路的理念。

从上面的内容可以看出，与以前的研究相比，本书有自己的特色和创新之处：

第一，本书认为王国维继承和发展了中国传统的情性本体论，并将之应用于《人间词话》，使自己取得了卓越的成就，成为情性本体论的集大成者。

本书认为在中国传统的情本体论和性本体论之外，存在着另外一种本体论传统——情性本体论传统。王国维就继承、延续了情性本体论这一传统。但王国维之前的情性本体论者，他们的情性本体观念还不成熟，经常将情性本体与性本体和情本体相混。与以前相比，王国维的情性本体观念则明确清晰，不仅将情性与情和性做了明确的区分，还将传统的情性本体观念发展成了有机的系统结构。同时，对于被自己发展了的情性本体思想，王国维非常有意识地将它应用到自己的文艺理论著作，如在《人间词话》中，他就从情性本体观出发去观照中国文学，使自己取得了卓越的成就，成为情性本体论的集大成者。

第二，本书从文本和发生学两个方面客观地对《人间词话》的内在美学意蕴进行深层的系统解读，彰显了《人间词话》与中国传统文化的关联。

本书抛掉用西学解读《人间词话》的习惯，舍弃寻章摘句的论证方式，是客观地从文本出发，将“情性本体”观念作为贯穿全文的血脉，挖掘揭示出《人间词话》美学、文学思想的深层系统结构。这样就把握住了《人间词话》的内在最根本之处，使这部著作的内在精神得以充分、准确地展示。同时，从发生学的角度客观地考察了《人间词话》美学思想的渊源，显现出了《人间词话》与中国传统文化的相承关系。

第三，本书系统地从“中国文学特性”角度研究《人间词话》，并用“情性为本的诗性话语结构”概括了《人间词话》总结的中国文学特性。

中国文学特性或特质的说法并不是起自本书，“文学特性”或“文学特质”一词已经十分流行，而且早在1987年郑天叔的《论王国维对文学特质的认识》一文就将文学特质与《人间词话》联系起来，而叶嘉莹先生在《中国词学的现代观》一书和《要眇宜修之美与在神不在貌》一文中也认为《人间词话》是对词之特质的体认。但可惜的是《论王国维对文学特质的认识》一文十分短小，算不上对《人间词话》所揭示的中国文学特性的系统阐发；而叶先生认为王国维的境界说只能适合解释“歌辞之词”，对于“赋化之词”和“诗化之词”则有些无能为力，更不要说解释诗及其他文学样式的作品了，她认为对于中国词学理论的分析只能借助西方理论，似乎更为偏颇。本书则不仅系统地挖掘《人间词话》的深层美学意蕴，而且认为在文学问题上，《人间词话》所要阐释的是中国文学特性。所以，在研究的过程中，一方面将王国维所持的“情性”本体观念贯彻始终；一方面将着重点放在对《人间词话》所揭示的中国文学特性的系统阐发上。而在二者基础上，也就自然而然地将《人间词话》所揭示的中国文学特性归纳概述为“情性为本的诗性话语结构”。“情性为本的诗性话语结构”，此种观点还是第一次提出，具有一定的创新性。

关键词：王国维 《人间词话》 情性为本 诗性话语结构 中国文学特性

Abstract

Jen-Chien Tz'u-Hua is a great piece of work in modern Chinese literary criticism.The academic circles immediately attached importance to the work as soon as it was published.It still has great impact on contemporary literary criticism,and any serious research at any time would be highly valuable.In fact,not only have many famous experts come forward,but a lot of remarkable achievements have been obtained during the hundred year's research.However,there are quite a few problems that still exist in the past research.For example,many experts simply interpreted the work with Western culture.On the other hand,to promote national cultural movement,to criticize the commercialization of literature and to be concerned with person's oneself are the themes of the times.The spirit of the work coincides with the themes of the times,because it sums up the characteristics of Chinese Literature,gives prominence to the basic spirit for life,emphasizes pure and uplifting transcen ding.In conclusion,we believe that the study of Jen-Chien Tz'u-Hua is of profound theoretical and practical significance.

Under the direction of the concept ofbeing sentiment-oriented,the thesis deals with the subject of Chinese Literary Characteristics from four main areas: sentimental nature being Chinese Literature's original substance,artistic life ching chieh,poetic discourse structure,and the highest state of the Chinese Literature.The thesis consists of five chapters and adopts general-divisional-general structure.Chapter one,which is general and the basis of the thesis,delimits Wang Kuo-wei's concept of Sentimental Nature Original Substance.Chapter two,three and four beiong divisional,elaborates on Chinese Literary Characteristics from two points of view: literary subject and literary texts.The last chapter,which is general again,synthesizes and promotes the contents of the first four chapters and discusses the highest state of the Chinese Literature.

Chapter one,Sentiment-oriented Nature: Chinese Literature's ontology.The chapter mainly discusses that Wang Kuo-wei inherited and developed the traditional Chinese concept of Sentimental Nature Original Substance,demonstrates that Chinese Literature's original substance is sentimental nature.First,the thesis makes explorations into the thought of Sentimental Nature in both Chinese and Western philosophy.Then the thesis makes a study of Feeling substance and Nature Substance about their essence,contents,development and embodiment in Chinese literary theoretical history.Second,the thesis studies the development and embodiment of Sentimental Nature Original Substance which is different from Feeling substance and Nature Substance and discusses that Wang Kuo-wei's literary ontology inherited and developed the traditional Chinese concept of Sentimental Nature Original Substance.Finally,the thesis interprets the characteristic of Sentimental Nature Original Substance and emphasizes that the study of Chinese literature and Jen-Chien Tz'u-Hua should have a foothold in Chinese culture while distinguishing Chinese culture from western culture by contrast.

Chapter two,Jen-Chien Tz'u-Hua: the work on Chinese Literary Character istics.The chapter gives a bird's-eye view of the basic contents of Chinese Literary Characteristics interpreted by Jen-Chien Tz'u-Hua.First,the thesis distinguishes Literary Characteristics from literariness and puts forward the standpoint that Chinese literary theory studies Chinese Literary Characteristics,and discusses the exposition of the theory of yi-ching on behalf of traditional Chinese literary theory on Chinese Literary Characteristics.Then,the thesis discusses the standpoint that Wang Kuowei's theory of ching-chieh best gathers up Chinese Literary Characteristics,discusses its sources and meaning and basic contents.Finally,the thesis discusses the difference between yi-ching and ching-chieh on a base of the above study.

Chapter three,artistic state of human life: subject spirit qualification for achieving Chinese Literary Characteristics.This chapter mainly discusses that art subject should have high spirit of freedom and of transcending on which Jen-Chien Tz'uHua insists on a base of the concept of Sentimental Nature Original Substance.First,the thesis gives the distinctive interpretation of the literary transcending idea of Wang Kuo-wei,demonstrates that art subject must have a corresponding transcending spirit and artistic spiritual insight if his literary output will have ching-chieh and transcending.Then,the thesis set forth the“benevolence”aesthetic state of Confucianism,the“emptiness”aesthetic state of the Buddhism,the“contemplation of boundless space”aesthetic state of the Taoism and that they have an effect on Wang Kuo-wei's philosophy of life and literature,respectively.Finally,the thesis deals with Wang Kuo-wei's unique aesthetic philosophy of life and literature which are known as the personal state（yu-wo chih-ching）and the impersonal state（wuwo chih-ching）and come into being on a base of his life experience and literary creation after he draws on the aesthetic philosophy of life of the three schools.

Chapter four,poetic discourse structure: externalization of the intrinsic Sentimental Nature.Literature is an artistic form of language.Chinese literature with aesthetic state needs not only artistic state of human life but also systematic poetic discourse.Therefore,this chapter states what Wang Kuo-wei said about the Chinese Literary Characteristics from such aspects as: literary form,literary language,and literary grammar which are the aesthetic value of literature itself on the basis of the concept of Sentimental Nature Original Substance.First,the thesis thinks that Wang Kuo-wei put forward the opinion that Sentimental Nature specially embodied in the specific literary form while it restates the concept of Sentimental Nature Original Substance.Hence the paper discusses these words that“while the state of shih is broader,what is expressed in tz'u lingers longer”,that mean the theory of“exquisitely subtle and perfect in detail”.If we study Chinese Literary Characteristics,We should study the characteristics of Chinese,for literature is an artistic form of language.The artistic Chinese character is full of aesthetic sentiment and takes achieving Sentimental Nature as its aim.It directly affects the development of the Chinese literary aesthetic characteristics.Then,the thesis elaborates how Chinese character does affect the Chinese Literary Characteristics from such aspects as: Chinese glyph,sound-rhyme,meaning.Finally,the thesis elucidates Wang Kuo-wei's literary grammar idea in which nominal and practical contains each other and reveals the Chinese Literary Characteristics are contained between the literary grammars.

Chapter five,Unity of Tao and Art: the highest state of the Chinese Literature.The chapter mainly discusses the exposition of Wang Kuo-wei on the highest state of the Chinese Literature.First,the thesis believes that Wang Kuo-wei took Unity of Tao and Art as the highest state of the Chinese Literature and explains what is Unity of Tao and Art.Then,the thesis dwells on the embodiment of the conception of Unity of Tao and Art in Jen-Chien Tz'u-Hua.The conception performs giving emphasis to“the combination of soul and object”,“mental world and physical world—an organic whole”,and achieving the state of unity of universe and man in the process of the artists'creation.The conception performs paying special attention to natural beauty on the method of the creation.The conception means that Sentimental Nature or Tao is the ultimate home of Chinese literature.Finally,the thesis explores the ching-chieh which is unobstructed by a veil again and thinks that the state is synonymous with Unity of Tao and Art.

Conclusion.The thesis re-emphasizes that Jen-Chien Tz'u-Hua is the repre sentation that Wang Kuo-wei apply the traditional Chinese concept of Sentimental Nature Original Substance to practice in literary theory and emphasizes that Jen Chien Tz' u-Hua is intimately bound up with the Chinese traditional culture and literary theory.Finally,the thesis restates its stand that the study of Jen-Chien Tz'u-Hua should be based on the Chinese traditional culture and blaze a trail of own.

Key words: Wang Kuo-wei,Jen-Chien Tz'u-Hua,Sentiment-oriented Nature,Poetic Discourse Structure,Chinese Literary Characteristics