Anthology・Savor・Nature and Popularity：The Study of the Poetics from Kang Xi to Qian Long

[[abstract]]本文探討康熙至乾隆年間，詩學上雅俗及性情的嬗變，由「別裁」呈現沈德潛一貫溫柔敦厚的詩教觀，從《清詩別裁集》的修訂及閨閣詩、僧詩的收錄，展示其詩學思想的調整及詩歌史觀的價值，並以《宋金三家詩選》中東坡、放翁、遺山詩的編選及評點，呼應其溫柔敦厚的堅持。 另外，以「知味」為袁枚的感官詩學歸納出以「味」論詩的取向，先以研究述評略論目前研究，展現本文在袁枚感官詩學方面之補足。再梳理其詩論中所讚賞、所批評者，更能描繪出其詩學基本風貌，亦即以「味」論詩的核心精神。最後再以《隨園詩話》、《小倉山房詩集》、《隨園食單》呈現其「知味」的性情，並由味的引入，看出此際情的駁雜的詩學現象。 杜詩性情的雅正，及清人對杜詩的批評也有許多值得探討之處，清人的杜詩學是具有理論意義的批評行為，此時作為「經典」而成被述對象的杜詩，不再只是以威權的姿態邊緣化其他藝術成果存在意義的作品，而成為一個交流的平台，一個開放的場域，各種不同的論詩主張，皆可以在這個平台上與其他不同的理論相互交流，彼此印證。因此「杜詩學」可說輔弼了某些詩人理論的建構，而杜詩本身在這個過程中也得到了極大的回饋。從王士禛、沈德潛、袁枚這些大家討論、批評杜詩的態度中，除了得以重新認識杜詩的價值，也彰顯杜詩對古典詩學的影響與意義，清初詩論風貌也有了更完整的展現。 艷詩展現了由雅正向通俗的流動，漁洋早年愛好與人唱和香奩詩，這構成他早年詩歌創作醒目的一部分。後來他不再撰寫香奩詩，將香奩詩完全置於「精華」之外，其詩歌理論和創作也轉向神韻說。這種由重情說到轉向神韻說、從賞俗到趨雅的變化，對於認識清初的詩學思想是很有意義的。沈、袁二人在艷詩的理解上也存在很大分歧，沈德潛認為無關於人倫物用，無補於世道人心的艷詩，並不具有可取的感人之處，因詩篇中所敘寫和表達的情感，無法符合「雅正」而不「偏邪」的儒家詩教宗旨。袁枚則批判了沈德潛對艷詩的排斥態度，以為艷體不足垂教的問題，袁枚提出了質疑。袁、沈之爭，說明不同評論者對艷詩的理解差異很大，態度也因之大相逕庭。[[abstract]]The thesis studies the change of popularity and nature in poetics from Kang Xi to Qian Long, which is based on the “anthology” representing the sincerity of Shen De-qian’s poems and his poetic adaptation as well as poetic values from the revision of Qing Dynasty Poetry Anthology and the collection of his feminine poetry and monk poetry, echoed by his persistent sincerity with the poetic evaluation from Dong-puo, Fuang-ong and Yi-shan in The Three-Poet Anthology from Song to Jin Dynasty. Moreover, using “flavor” to evaluate poems is concluded with Yuan Mei’s poetic sensation of “savor.” First of all, to supplement the aspect of Yuan Mei’s sensation in poetry, the thesis briefly gives an overview of given current study. Then, to depict his poetic features, the compliments and the criticisms in his anthology are rearranged, which is the core of “flavor” in poetic evaluation. Finally, his nature of “savor” adopted from Sui-yuan Anthology, Little Cang-shan Anthology and Sui-yuan Menu is presented. The elegance of Du’s poetry and the criticisms from Qing people remain much to explore. Qing people theoretically criticizes Poetics by Du, during which Du’s poetry, as a classic, is rather an exchange platform than a powerful work that marginalizes other art forms—an open field for different opinions to make exchanges and have mutual proofs. Therefore, “Du’s Poetics” can be said to have assisted certain poets to construct their theories, in which Poetics by Du itself has tremendous feedback. From discussions between Wang Shi-zhen, Shen De-qian and Yuan Mei as well as their attitude toward criticisms of Du’s poems, the value of Du’s poetry is re-recognized, making Du even stand out in the influence of the Classic Poetics. Accordingly, the outline of poetic criticism in the beginning of Qing Dynasty fully spreads out. Flirtatious Poetry makes the flow from elegance to popularity. Yu-yang in his early age loved to tell Xiang-Lian Verse to others, which contributes an eye-catching part in his creation of verses. He then made no Xiang-Lian Verse, and put Xiang-Lian Verse out of his “Essence.” His poetic thought and creation turns to charm-orientation. The modification from love-base to charm-orientation－from popularity to elegance－is significant to realize poetic notion in the beginning of Qing Dynasty. Shen and Yuan’s realization of Flirtatious Poetry are in total disagreement. Shen De-qian regarded Flirtatious Poetry as inhuman, out of mind and unmoving since the feeling described and expressed cannot fit in with Confucianism, which must be “elegant” and not “corrupt.” Yuan Mei, on the other hand, criticizes Shen De-qian for his attitude against Flirtatious Poetry, and questions him the reason Flirtatious Poetry is not at all educational. The conflict between Yuan and Shen demonstrates an interpretation that different critics have district realization and attitude on Flirtatious Poetry.[[note]]碩