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|Other Titles: ||The Frame of Wang Fuzhi's Poetics Related to His View on the Relationship between the Music and Poetry: Chinese Lyricism and Trans-Metaphysics in Chinese Thought|
|Authors: ||蕭馳;Chi Xiao|
|Keywords: ||, Trans-metaphysics, Shcng-qing, The Frame of Wang Fuzhi's Poetics|
Poetry swingirtg between shade and light"
船山詩學架構。Discussing poetry in musical terms, "
|Abstract: ||Started with a Ming theoretical phenomenon of discussing poetry in terms of the music, this essay discusses Wang Fuzhi's view on the relation-ship between the music and poetry, the very frame of Wang's poetics. First, the essay demonstrates that, carrying on the Confucian tradition, Wang in interpreting Confucian classics apotheosizes the music for its paramount cosmological and ethical significance. In his writing referred to poetry and music, he also situates the music in the position superior to the poetry by the latter's invisibility and limitlessness. Yet, Wang's proposition, "Poetry is swinging between shade and light," also asserts that the music as the transcendent is never cut off from the more immanent one, the poetry, but could be embraced in the poetry. At the same time, the poetry could also stumbles across the superior by reaching the celestial realm. At this point, apart from offering a new way to see the relationship between the music and poetry, Wang actually reveals a tradition in Chinese art and literature, correspondent with the "trans-metaphysics" in Chinese philosophy, a tradition which advocates interflowing and interpenetration between the visible and the invisible, between the concrete and the abstract, and between the temporal and the spatial. From his point of view to treat the music as the paramount realm of poetry, in lyric criticism Wang pays high regard to sheng-qing, i.e., making phonologic effect of syllables emotionally expressive. Therefore, he believes that sound is prior to be considered between character and sound and the linguistic discourse in verse should be made in musical terms. By the same token, he thinks that phonological form of lyric language should lead meaning in verse while deliberately setting up a meaning for poetry should be denied. For Wang's frame of poetics, the importance of his view on relationship between the music and poetry is the realization of significant form itself. Furthermore, by treating music as the supremacy of poetry, Wang basically regards poetry as an art of time, an art which embodies the cosmic accord with its rhythm. However, by his concept that poetry is swinging between shade and light, between the visible and the invisible, Wang also, at the same time, can carry on and develop the lyric theory of "scene and feeling in poetry" that evolved in Song period, and thereby highlights the visible, spatial world in poetry. Yet, this visible world must embrace the perpetual dynamics, and in the spatial dimension and in synaesthetic sense, embodies the cosmic accord.|
|Appears in Collections:||[01 清華學報] 新31卷第1、2期|
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