從律詩美典到中國文化史的抒情傳統──高友工「抒情美典論」初探

全文

(1)࢈τϜНᏱൣ! ಒΫ෉ 2008 Ԓ 12 У 53-90 ॳ. ௄ࡢၒज‫ژڑ‬Ϝ୾НϾѭ‫׶ޠ‬௒༉ಜ ˕˕ାЅϏȶ‫׶‬௒ज‫ڑ‬፤ȷߒ௥ ച୾౩ Ɏ. ᄣ! ् 20 зखΝɒԒхȮϜѵНᏱȯёၸΠज୾๽၃Ᏹ޲ାЅϏঐ΢п ІᇅధડᡤӬձኦቹ‫قޠ‬ӗভၒ‫ڸ‬НᏱ౪፤ः‫ف‬፤НȂЖึ྄τኈ៫Ȃ Κਣ໣ԥȶାЅϏᎫᕞȷϟᇴȄ᝸ࡤାЅϏӕ౐Τः‫ࡢف‬ၒ‫ޠ‬ᅌϾȂп ՎϜ୾ॲ዆ȃНᏱ౪፤ȃਫ‫ݳ‬Ȃᛳฬ౪፤๊᛻೛‫ޠ‬ȶ‫׶‬௒ज‫ڑ‬ȷȂᄕ݃ Ϝ୾НϾѭ‫ޠ‬ȶ‫׶‬௒༉ಜȷȄ‫ڐ‬፤ख़ᡞτՅࡧᆡȂܼѯ෬ӵୣϟϜ୾Н Ᏹः‫ޠف‬ኈ៫ࢌ౐йሊȄҐНл्௥ଇାЅϏ௄ভၒः‫ژف‬ȶ‫׶‬௒ज‫ڑ‬ȷ ‫࡛ޠ‬Ҵ‫ޠ‬ᐤโȂঢຝ‫ڐ‬፤ख़ϟРӪȂ‫ٯ‬ၑშຠ‫ݚ‬೼Κၜម‫ق‬ಜϟԚਞІ ཏဏȄ ᜱᗥມȈାЅϏȃ‫׶‬௒༉ಜȃࡢၒȃज‫ڑ‬ȃϜ୾НϾѭ. 2008.11.10 ‫׺‬ጉȇ2008.11.22 ቸࢦ೾ႇȇ2008.11.25 ঔॐጉԞӈȄ Ɏ ച୾౩౫ᙜ࣐ॸ෬ఁ‫ي‬ᏱଲᇮНᏱଲଲߞȃϜН‫ق‬ᗀ৵ఁ௳Ȅ.

(2) 54! ࢈τϜНᏱൣ! ಒΫ෉. From the“Aesthetics of Regulated Verse” to the “Lyrical Tradition”: A Study of Kao Yu-kung’s Conception of Chinese Lyricism K. K. Leonard ChanϠ. Abstract In 1970s, Kao Yu-kung, Professor of the Princeton University, established his fame among Chinese critics outside Mainland China with a series of expositions on Chinese regulated verses and literary aesthetics. He continued his works on the conceptions of “Chinese Lyric Aesthetics” since then, and came up with a very ambitious formulation of the “Chinese Lyrical Tradition” with studies on various modes Chinese cultural production such as music, literary theory, calligraphy, and paintings. This paper tries to elucidate the theoretical foundation of Kao’s conception of “Lyric Aesthetics” and its significance in the study of Chinese literature and culture. Keywords: Kao Yu-Kung, lyrical tradition, regulated verses, aesthetics, Chinese cultural history. Ɏ. Dean, Faculty of Languages, Chair Professor of Chinese, Hong Kong Institute of Education.

(3) ௄ࡢၒज‫ژڑ‬Ϝ୾НϾѭ‫׶ޠ‬௒༉ಜ˕˕ାЅϏȶ‫׶‬௒ज‫ڑ‬፤ȷߒ௥! 55. ΚȃାЅϏᎫᕞ 1972 Ԓ 11 УȂ഻ёথљԒ‫ޠ‬ȮϜѵНᏱȯУёึߓΠ༂ࡈጓᙛណ Ȉၑ௄ᇮّ๗ᄻΤКձНᏱ‫״‬ຠȳ Ȅ ‫ߞޠ‬጖፤Н˕˕Ȳϸ‫ݚ‬؈‫ޠظ‬Ȯऎᑺȯ Ґ෉ȲጢࡤଅȳᇴȈ Ȳϸ‫ݚ‬؈‫ޠظ‬ऎᑺȳΚНȂ঩Ҧ‫ڎ‬՞Ϝ୾Ᏹ޲ȞΚ՞ᄈ‫୾ש‬ၒ ມആၖ྄౐ȂΚ՞࣐ᇮّᏱ஠ঢ়ȟңऽНӶज୾ึߓȂӱ࣐ѻ ‫ޠ‬Р‫ུݳ‬ᑘȂُ၍౐‫ژ‬Ȃ෇‫୾ژڨ‬ѵᅖᏱࣩ඾ႈ‫ޠ‬२ຝȄȌȌ ჌೼ᆎւңഷུᇮّऌᏱР‫ٿݳ‬ଇ፤‫୾ש‬ѡ‫ڑ‬НᏱ‫ޠ‬፤НȂ࢑ ؑΚ՞ᝓ๧Յέᜱ‫ݨ‬Ᏹ೛‫ޠ‬Ϝ୾΢‫ܛ‬ϛ૗‫܈‬ຝ‫ޠ‬Ȅ1 ೼࢑ధડᡤ‫ڸ‬ାЅϏ‫ޠ‬ӫԆಒΚԪӶѯᢋϜНᏱࣩя౫ȄуউӬቹ ȃ Ȳভၒ‫ޠ‬ᇮཏ ‫ޠ‬ѫѵ‫ڎ‬጖ߞ጖፤Н˕˕Ȳ፤ভၒ‫ޠ‬ᇮ‫ݳ‬ȃңԆᇅཏຬȳ ः‫ف‬Ȉᗵൖᇅ‫ࢉڑ‬ȳȂӤኻҦѯᢋτᏱѵН‫ق‬Ӊఁ‫ޠ‬༂ࡈጓᙛណȂӒࡤ Ӷ 1973-1974 ԒІ 1975-1976 ԒܼȮϜѵНᏱȯϸ෉ഀၸȄ2ȮϜѵНᏱȯ Ս८зпࡤȂ‫ڐ‬НᏱः‫ޠف‬НതȂΚ‫ޣ‬ЖስॴዙȂߞ෉Ԛ࣐ѯᢋпՎτ ഛпѵ๽Нӵୣ‫ޠ‬Ᏹ೛ဒྔȄ 3ధȃାήНҔ࢑ȮϜѵНᏱȯ൩ۢ‫ڐ‬Ᏹ ೛ӵ՞‫ޠ‬२ᓟНതϟΚഌϸȄ 1978 ԒାЅϏᔗѯᢋτᏱНᏱଲଲߞ߯ୋϟᗝߖѯࡋ৵ȄӶ೼Ᏹ ԒϟϲȂу୥ђΠϜ୾Җ୾ಒή۪ЩၷНᏱཽឋȂණһ፤НȲНᏱः‫ف‬ ȳ ȂѫѵέኦቹΠȲНᏱः‫ޠف‬౪፤ ‫ޠ‬౪፤ஆᙄ˕˕ၑ፤ȶ‫ޤ‬ȷᇅȶّȷ. 1. 2. 3. ȮϜѵНᏱȯಒ 1 ‫ڣ‬ಒ 6 ෉Ȟ1972 Ԓ 11 Уȟॳ 198-199Ȅ࿌ਣᖃጢᒯ࢑ѯᢋτᏱѵ Н‫ޠق‬ऩ᝻ࡰȄ Ȳ፤ভၒ‫ޠ‬ᇮ‫ݳ‬ȃңԆᇅཏຬȳȞαȟȃȞϜȟȃȞίȟȂϸُȮϜѵНᏱȯಒ 1 ‫ڣ‬ಒ 10 ෉Ȟ1973 Ԓ 3 УȟȂॳ 30-63ȇಒ 1 ‫ڣ‬ಒ 11 ෉Ȟ1973 Ԓ 4 УȟȂॳ 100-114ȇಒ 1 ‫ڣ‬ ಒ 12 ෉Ȟ1973 Ԓ 5 Уȟ Ȃॳ 152-169ȇ Ȳভၒ‫ޠ‬ᇮཏः‫ف‬Ȉᗵൖᇅ‫ࢉڑ‬ȳ Ȟαȟ ȃ ȞϜȟȃ ȞίȟȂϸُȮϜѵНᏱȯಒ 4 ‫ڣ‬ಒ 7 ෉Ȟ1975 Ԓ 12 УȟȂॳ 116-129ȇಒ 4 ‫ڣ‬ಒ 8 ෉Ȟ1976 Ԓ 1 УȟȂॳ 66-84ȇಒ 4 ‫ڣ‬ಒ 9 ෉Ȟ1976 Ԓ 2 УȟȂॳ 166-190Ȅ ȮϜѵНᏱȯ഻ёϟߒȂ෇Ҧึ՘΢ԨҴҖȃަߞᚠϰ‫ڧ‬ȃᖃጢᒯऩ᝻ࡰဎӫึߓ ๞᠟޲‫߭ޠ‬Ȃ࿌Ϝණ‫ژ‬ё‫ޠޑ‬ಒΚঐ२ᘉ࢑ȶНᏱຠ፤ȷȂ‫ٯ‬ᇴȈȶ‫ש‬উ஡ᗝङ‫ ٯ‬ ߕ੖ϲѵ‫ޠ‬Ᏹ޲஠ঢ়ȂᄈѡϭϜѵ຀ӫ‫ޠ‬ձঢ়‫ڸ‬ձࠣȂኦቹԥӌ໕‫״ޠ‬ຠϸ‫ݚ‬НതȄ ᄈϜ୾ѡ‫ڑ‬І౫хНᏱ‫ޠ‬፤ຠȂ‫ש‬উ஽።‫ٻ‬ңུР‫ݳ‬ȃུᢏᘉȄӤਣȂ‫ש‬উ஡пЩ ၷНᏱ‫ޠ‬Р‫ݳ‬ȂңϜ୾НᏱ‫ޠ‬ᢏᘉፚ፤ѵ୾НᏱȂңѵ୾НᏱ‫ޠ‬ᢏᘉፚ፤Ϝ୾НᏱȇ ෉ூࣻϤ୥ᜍ‫ޠ‬ਞ‫ݏ‬ȄȷȮϜѵНᏱȯಒ 1 ಒ 1 ෉Ȟ1972 ԒȟȂַॳȄ.

(4) 56! ࢈τϜНᏱൣ! ಒΫ෉. ஆᙄ˕˕ၑ፤ȶ‫ޤ‬ȷᇅȶّȷȳȃȲНᏱः‫ޠف‬जᏱୱᚡȞαȟ˕˕जད စᡜ‫ۢޠ‬ဏᇅ๗ᄻȳȲНᏱः‫ޠف‬जᏱୱᚡȞίȟ˕˕စᡜ؆ਠ‫ޠ‬ཏဏ ᇅ၍មȳං጖τНതȂഎӶȮϜѵНᏱȯึߓȄ 4Нത८зࡤȂᐮึΠ Ᏹࣩ‫ޠ‬ዦ੩ଇ፤ȂΚਣԥȶାЅϏᎫᕞȷϟᇴȄ 51987 ԒৈȂାЅϏέ ᔗᗝ‫ژ‬ѯᢋ୥ђఽ๽τᏱлᒳ‫ޠ‬НᏱ౪፤ःଇཽȂᗀख़ԥᜱϜ୾‫׶‬௒ज ‫ޠڑ‬ୱᚡȄ೼Ԫᅌᗀ‫ॴࢻޠ‬ϛቫȂέኈ៫೩ӼԒߨᏱ΢Ȅ ȶϜ୾‫׶‬௒༉ ಜȷϟᇴȂӶѯᢋӒԥചз㟡໡ॴ੊ϟӒȂ 6᝸ՅҦାЅϏ‫ޠ‬ȶ‫׶‬௒ज ‫ڑ‬ȷໍΚؐึඵȇΡ΢Ӓࡤ‫ޠ‬፤ख़ȂᗷดϛΚۢԥ‫ޣ‬௦‫ޠ‬༉‫ܜ‬ᜱ߾Ȃկ എ૗ആԚᖔ୞‫ޠ‬ᖑ༗ȄϜ୾НᏱНϾ‫ڏ‬റȶ‫׶‬௒ᆡઢȷ‫ޠ‬ᗀ‫ݳ‬ȂϑԚ࣐ τഛпѵ๽Нӵୣ‫ޠ‬ӔᜌȄҐНпାЅϏ‫ޠ‬ȶ‫׶‬௒ज‫ڑ‬ȷࣻᜱНത࣐௥ ଇᄈຬȂၑშᚅఽ೼Κ৉ᡞτࡧᆡ‫ࡧޠ‬ᒲ‫ق‬ಜ‫ޠ‬፤ख़૖๝‫ڸ‬ཏဏȄ. ΡȃାЅϏ‫ޠ‬НᏱ፤ख़ᐤโ ାЅϏȂԋ‫ࣹݎ‬ቄ࠳Ȟ౫឵ᒸᄀࣹȟ΢Ȃ1929 ԒҢܼᘮ໩ȇܼ२ ኋІі҂‫׈‬ԚϜᏱఁ‫ي‬Ȃ1947 ԒՄΤі‫ٶ‬τᏱ‫قࡢݳ‬Ȃ1948 Ԓᖟঢ়ಌ ۩ѯᢋȂ1949 ԒΤѯᢋτᏱȄ1952 ԒϜН‫ق‬౴ཿȂ‫ڎ‬Ԓࡤ॔ज୾ࠥդ τᏱȂӶ྇ᖓହఁ௳ࡿᏳί‫׿‬᠟Ϝ୾ᐤѭȄ1962 ԒпȶР᛹ः‫ف‬ȷ‫ڦ‬ ூീςᏱ՞Ȃ‫ٯ‬Ӷ඾‫ݔ‬ලႴτᏱӉఁȄΝɒԒхҒ‫ژ‬ΟɒԒх໣Ȃ෇Ӽ Ԫ‫ژ‬ѯᢋІॸ෬ᗀᏱȂ‫ ژ‬1999 ԒҔԓଞӅȄ ାЅϏಒΚԪ‫ژ‬ѯᢋτᏱࡋ৵ਣȂпή጖፤Нᡚ୞ᏱࣩȂ࡟Ӽ΢ᗝ ፝уኦቹНതȂկഎ‫ء‬ԥᔗङȄϛႇу෇စߓұ्‫׈‬Ԛ‫ڎ‬ҐᏱ೛຀ձȂ ‫ڐ‬Κ࢑ȮϜ୾НᏱ‫׶ޠ‬௒༉ಜȯȂ௄ᇮّ᛻೛௥ଇНϾлࢻ‫םޠ‬ԚȂϲ ৡєࢃϥ጖НതȈ ȲၒစϜᇮّ‫ޠ‬᛻೛ȳȃ Ȳྀ᜞‫ޠ‬๗ᄻȳ ȃ Ȳϥّၒ‫םޠ‬ Ԛȳȃ Ȳࡢၒ‫ޠ‬᛻೛‫ܓ‬ȳ ȃ Ȳϊц‫ߞڸ‬።‫ޠ‬ᇮّ๗ᄻȳȇ‫ڐ‬Ρ࢑ȮᜱܼНᏱ ः‫ޠف‬ංঐୱᚡȯ ȂпȮϜѵНᏱȯ‫ޠ‬ං጖Нത࣐лȄ7Ѡ௕Ȃᇅചз㟡 4. 5. 6 7. ȲНᏱः‫ޠف‬౪፤ஆᙄȈၑ፤ȶ‫ޤ‬ȷᇅȶّȷȳȂȮϜѵНᏱȯಒ 7 ‫ڣ‬ಒ 7 ෉Ȟ1978 Ԓ 12 УȟȂॳ 4-21ȇȲНᏱः‫ޠف‬जᏱୱᚡȞαȟȈजདစᡜ‫ۢޠ‬ဏᇅ๗ᄻȳȂȮϜѵ НᏱȯಒ 7 ‫ڣ‬ಒ 11 ෉Ȟ1979 Ԓ 4 УȟȂॳ 4-21ȇȲНᏱः‫ޠف‬जᏱୱᚡȞίȟȈစᡜ ؆ਠ‫ޠ‬ཏဏᇅ၍មȳȂȮϜѵНᏱȯಒ 7 ‫ڣ‬ಒ 12 ෉Ȟ1979 Ԓ 5 УȟȂॳ 4-51Ȅ ࡧচȂȲାЅϏፚНϾ౪དྷȳȂȮᖓӬൣȯȂ1979 Ԓ 7 У 19 СȇାτᝊȂȲϮಞାЅϏ ӒҢ‫ޠ‬НᏱࡧདྷȳȂȮਫຠਫҭȯಒ 80 ‫ڣ‬Ȟ1979 Ԓ 12 УȟȂॳ 16-23Ȅ ୥ചз㟡ȲϜ୾‫׶ޠ‬௒༉ಜȳ ȂၸȮചз㟡Нԇȯ ȞѯіȈ‫ע‬Ня‫ަޏ‬Ȃ1972ȟ Ȃॳ 31-37Ȅ ࡧচȂȲାЅϏፚНϾ౪དྷȳȄ.

(5) ௄ࡢၒज‫ژڑ‬Ϝ୾НϾѭ‫׶ޠ‬௒༉ಜ˕˕ାЅϏȶ‫׶‬௒ज‫ڑ‬፤ȷߒ௥! 57. ‫׊ޠ‬შґႀΚኻȂ 8ାЅϏ‫ޠ‬Ᏹ೛ᄻདྷηґ෇ᄃ౫Ȃ‫ڎ‬Ґ஠຀എ‫ء‬ԥ‫׈‬ ԚȄดՅ௄αзखϳΫԒх‫ژ‬ҐзखߒȂуึߓΠࣻ࿌኶໕‫ޠ‬Ᏹ೛፤ НȂ‫ڐ‬ጤસҼϛᚕα८‫ܛ‬ණІ‫ޠ‬ത࿾ϲৡȄѬ࢑ө጖යဤӶϛӤ‫ޠ‬ਫё ϟϜȂ൷ᔯϛܿȄ2004 ԒѯᢋτᏱࢡኋ࣐݃ԫᇕᛴጢ໲Ȃᐍ౪ԚȮϜ ୾ज‫ڑ‬ᇅНᏱः‫ف‬፤໲ȯΚਫȂԞΤНതӔΫΡ጖ȇ 92008 Ԓі‫ٶ‬ήᖓ ਫ‫ۺ‬έпѯᢋτᏱ‫࣐ޏ‬ᐄȂቩԞѳ጖НതȂӬӔΫϳ጖࣐ΚьȂᚡձȮज ‫ڑ‬ȈϜ୾НᏱः‫ف‬፤໲ȯ Ȃ࢑ҭࠊଇ፤ାЅϏᏱ೛ः‫ف‬ഷР߰‫ޠ‬Н໲Ȅ10 ดՅȂ೼‫ڎ‬ҐН໲ۧԥϛЎᒹᅔȂ‫ڐ‬ጢᒯϏձл्࢑ࡹ᜹ࣻԪȂґԥᓎ Нଅᓄө጖я೏‫ߓึڸ‬ਣ໣Ȃᄈ౪၍ାЅϏ‫ޠ‬ᐍঐᏱ೛‫ࡧڸ‬ᒲ‫ޠ‬ᐤโȂ ۧԥᒹᏻȄӱԫȂ์޲஡‫ޠُܛ‬ାЅϏȞпІᇅధડᡤӬ຀‫ޠ‬ȟϜऽН ፤Н౲ձᐍ౪Ȃ‫ߓึٸ‬Ӓࡤ௷ӗԄίȂп߰ໍΚؐଇ፤Ȉ 1968. Tsu-lin Mei and Yu-kung Kao,“Tu Fu's‘Autumn Meditations’: An Exercise in Linguistic Criticism”. 1969. Yu-kung Kao and Tsu-lin Mei,“Ending Lines in Wang Shih-chen's ‘Ch'i-chüeh’: Convention and Creativity in the Ch'ing”. 1971. Yu-kung Kao and Tsu-lin Mei “Syntax, Diction, and Imagery in T'ang Poetry”. 1974. “Lyric Vision in Chinese Narrative: A Reading of Hunglou meng and Rulin waishi”. 1978. Yu-Kung Kao and Tsu-lin Mei, “Meaning, Metaphor, and Allusion in T'ang Poetry”. 8. 9 10. 1978. ȲНᏱः‫ޠف‬౪፤ஆᙄ˕˕ၑ፤ȶ‫ޤ‬ȷᇅȶّȷ ȳ. 1979. ȲНᏱः‫ޠف‬जᏱୱᚡȞαȟ Ȉजདစᡜ‫ۢޠ‬ဏᇅ๗ᄻȳ. 1979. ȲНᏱः‫ޠف‬जᏱୱᚡȞίȟ Ȉစᡜ؆ਠ‫ޠ‬ཏဏᇅ၍មȳ. 1980. “Approaches to Chinese Poetic language”. ৈ‫זఽע‬ȂȮചз㟡Нԇȯණ‫ژ‬ചз㟡෇ᇴȈȶȮၒစȯȃȮྀ᜞ȯӼԒॴ੊ծབ፤ᇅН Ᏹབሊȇ዆‫ۻ‬ᇅ፮ҼѷዕᖢȄᇌ‫ע‬ᔤ࣐ԫѳ໷᜹࠯Ȃө࣐Κߞ፤Ȃ֊пࠊȮၒစȯ ϟН࣐ۗȂኬຠᙠ፤Ȃ‫ו‬៧ུโȂࢉ‫ڑ‬ਫ਼ᛓȂϛଡ଼ᛜಋп࣏ᏱȂུဏѠၦȂ௚ؒ‫ښ‬ ्п‫׊‬೾Ȅஹ૗เԥཌྷ၅Ȃֆ‫ٻ‬Ϝ୾ѡၒНાΤϭзНᏱѽࢻηȄȷȂॳ 27Ȅ ȮϜ୾ज‫ڑ‬ᇅНᏱः‫ف‬፤໲ȯȞѯіȈѯᢋτᏱя‫ޏ‬ϜЗȂ2004ȟȄ Ȯज‫ڑ‬ȈϜ୾НᏱः‫ف‬፤໲ȯȞі‫ٶ‬Ȉήᖓਫ‫ۺ‬Ȃ2008ȟȄ.

(6) 58! ࢈τϜНᏱൣ! ಒΫ෉. 1982. “Aesthetics of Regulated Verse”. 1985. “Chinese Lyric Aesthetics”. 1986. Ȳၒစ‫ޠ‬ᇮّ᛻೛ȳ. 1986. Ȳၑ፤Ϝ୾᛻೛ᆡઢȳ. 1987. ȲϜ୾ᔜቒज‫ึޠڑ‬৥ȳ. 1987. “The Nineteen Old Poems and the Aesthetics of Self -Reflection”. 1989. ȲϜ୾ᇮّНԆᄈၒᅉ‫ޠ‬ኈ៫ȳ. 1990. Ȳມᡞϟज‫ڑ‬ȳ. 1992. ȲϊцӶၒ༉ಜϜ‫ޠ‬ӵ՞ȳ. 1994. ȲϜ୾ᔜԣज‫ߒڑ‬፤˕˕চፚȶ஫ቒȷ ȳ. 1997. ȲϜ୾ϟᔜԣज‫ڑ‬ȳ. 1997. Ȳ௄Ȯ๛ረȯ ȃ Ȯᡚᡑȯ ȃ Ȯኇມȯᇴକ˕˕᛻೛ຠቌୱᚡϟ௥ଇȳ. 2002. ȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳ 11. ήȃାЅϏᇅధડᡤ ௄ାЅϏ‫ޠ‬຀ख़ᐤโ‫ࣽٿ‬ȂуᇅధડᡤӬ຀‫ޠ‬ή጖ভၒ፤НѠп࢑ Մᄇ‫ޠ‬ΚঐକᘉȄ 12 Ȳ؈‫ޠظ‬ȮऎᑺȯȈᇮّᏱ‫״‬ຠ‫ޠ‬ጜಭȳΚНȂ෇ ೞ‫ڻ‬ऽ໱І᎓ᐚීຝ࣐๗ᄻлဏ‫ޠ‬хߓձȄ13ดՅȂధȃାΡ΢ԟӶН തϜҨ݃уউ‫ޠ‬Р‫ݳ‬፤Ȉ ௄ᐍᡞ೤โѠпࣽяȂ‫ש‬উ‫ޠ‬Ȧः‫ف‬ȧѠпᘫ᜹ܼᇅᐹάሌ І࿆࡭ཐ๊ӫԆഀӶΚକ‫ޠ‬ᇮّᏱ‫״‬ຠȄ 14. 11. 12. 13. 14. ө጖НതࡹഷԟึߓȞєࢃණһᏱ೛ཽឋȟਣ໣Ӓࡤ௷ӗȇഌϸґ૗ଢࢦഷԟึߓ ϟ‫ם‬ԓȂࠍᐄีၸܼਫൣϟਣ໣௷ӗȄ уᗷดпР᛹ः‫ڦف‬ூീς፤НȂկ௄Ȳ؈‫ޠظ‬ȮऎᑺȯȈᇮّᏱ‫״‬ຠ‫ޠ‬ጜಭȳΚН пࡤȂуծоϛӕਗ਼٘ᐤѭः‫ف‬ȂᄈНᏱ‫ܛ‬೏‫ޠ‬ᐤѭ૖๝Ȃη‫ء‬ԥЋӼ‫ޠ‬௥સȄ ାЅϏࣻᜱऽН፤Н‫ޠ‬ᚡҭᖟӗ‫ܗ‬ϲৡኬख़Ȃְ࣐์޲Ս՘ណቹȄ‫ڻ‬ऽ໱‫؂‬஡೼጖ Нതᇅ໰өҁීȞRoman Jakobson, 1896-1982ȟІ؄ᆱѭߡȞClaude Lévi-StraussȂ 1908-ȟӬቹ‫ޠ‬๗ᄻлဏНᏱः‫ف‬຀ӫ፤НȈȲ‫ݱ‬੬ກᅮ‫ޠ‬ȮᒦȯȳȞBaudelaire’s “Les Chats’ȟࣻЩȂ‫ڐ‬ᄃ࢑ᇳցȄُ‫ڻ‬ऽ໱ȃ᎓ᐚීȂȮ๗ᄻлဏ‫ޠ‬౪፤ᇅᄃ፻ȯ ȞѯіȈ Ꮞ݃НϾϵѨȂ1980ȟ Ȃॳ 211ȇ‫ڻ‬ऽ໱Ȃ Ȯ๗ᄻлဏᇅϜ୾НᏱȯ ȞѯіȈήҖਫ‫׌‬Ȃ 1983ȟȂॳ 212-214Ȅ Tsu-Lin Mei and Yu-Kung Kao, “Tu Fu's ‘Autumn Meditations’: An Exercise in Linguistic Criticism,” Harvard Journal of Asiatic Studies 28 (1968),p.44Ȅ.

(7) ௄ࡢၒज‫ژڑ‬Ϝ୾НϾѭ‫׶ޠ‬௒༉ಜ˕˕ାЅϏȶ‫׶‬௒ज‫ڑ‬፤ȷߒ௥! 59. ᐹάሌȞWilliam Emposn, 1906-1984ȟ࢑࿆࡭ཐȞI. A. Richards, 18931979ȟ‫ޠ‬ᏱҢȂΡ΢࢑‫ܛ‬ᒞȶቕᐞᏱࣃȷ‫ޠ‬хߓȂ஡ᇮཏᏱழ‫ژ‬НᏱ‫״‬ ຠ‫ٿ‬Ȃ࿆࡭ཐ‫࢑؂‬НᏱ‫״‬ຠ‫ޠ‬ȶಡ᠟ȷ‫ݳ‬Ȟclose readingȟ‫ޠ‬२्௱КȄ уউѬ૗ᆘ࢑ऽजȶུ‫״‬ຠȷࠊ෉хߓȄ೼጖፤Нϟ഻ུϟ೏Ȃ‫ٯ‬ϛӶ ‫׾‬ᡑᐤ‫ٿ‬НᏱѭᄈ؈‫ޠظ‬ցᘟȂ‫ٲ‬ᄃαధȃାΡ΢‫ܜ‬ᇰуউ‫ޠ‬ः‫ف‬ȶϛ ૗୞཯؈‫ޠظ‬ӵ՞ȷȇดՅႇџ‫ޠ‬ຠ፤п࣐؈‫ظ‬ϟ୊τӶܼу‫ޠ‬ȶീᏱ Ӽᆹȃଅख़ਣ‫ٲ‬ಡጞΤཌྷȂ‫޲ܗ‬щᅗ‫֘܇‬ན୾ȃҖब‫ޑ‬ᇅ‫ޠ‬ᆡઢȷ Ȃధȃ ାΡ΢ᇰ࣐೼‫ٳ‬എ࢑ѵጣ‫ޠ‬၍មȂуউϛ૗ӤཏȄధȃାᇰ࣐ၒ‫ޠ‬л् Ȃ‫ܛ‬ ᜱᛅ࢑Ԅեആ൸ᓻ፵‫ޠ‬ᇮّᇨࠣȞto make excellent verbal artifactsȟ п्௄ȶϲӶ‫ޠ‬ዀྦȷ Ȟintrinsic criterionȟԄॲ՞ȃ࿾࠸ȃѰᄻȃᇮ‫ݳ‬ȃ ཏຬȃ௪᜞๊ᇮّϰષΤК௥ขȂпُ؈ၒϟᇮّ᛻೛ࠆ๙ӤᏕȄҦΡ ΢ϟҴൠᖑ݃ȂѠُధȃାࡧՄ‫ޠ‬РӪȂл्ᗚ࢑ུ‫״‬ຠ‫ܛ‬ණя‫ޠ‬ȶϲ Ӷȷ ȃ ȶѵጣȷϟϸȂՅུ‫״‬ຠȶ२ϲȷ‫ޠ‬་ӪȂߵ‫ٻ‬уউᄈԫΚȶᇮّ Ᏹ‫״‬ຠ‫ޠ‬ጜಭȷ‫ޠ‬Ӭ౪‫ܓ‬రϛᛅᅹȄ 15 Ȳভၒ‫ޠ‬Ѱ‫ݳ‬ȃ௪᜞ᇅཏຬȳ‫ڸ‬Ȳভၒ‫ޠ‬ཏဏȃᗵൖᇅ‫ࢉڑ‬ȳ‫ڎ‬጖ ፤НȂ࢑ାЅϏ‫ڸ‬ధડᡤӬձȶߗᡞၒः‫ف‬ȷॏდ‫ޠ‬ഌϸȄ೼ঐॏდࣽ ‫ءٯٿ‬ԥ‫׈‬ԚȂկ‫੽ܛ‬ί‫ڎޠ‬጖НതϬด࢑ޫࠊ‫ޠ‬Ԛ൸Ȅ16೼‫ڎ‬጖Нത ຝഐ‫؂‬ђቷᗰȂᜱ‫ݨ‬८Ҧঐրձࠣᘘ৥‫ژ‬НᡞᇅНϾ༉ಜȄࠊ޲‫ޠ‬яึ ᘉϬ࢑ᐹάሌԓȞEmpsonianȟȂ 17 ೼࢑Ȳ؈‫ޠظ‬ȮऎᑺȯȳΚН‫ޠ‬ȶᇮ ّᏱ‫״‬ຠȷ‫៊۾ޠ‬ȇНϜ‫ܛ‬ኊң‫ޠ‬л्౪፤ᗚєࢃೊ‫۔‬ȞT. E. HulmeȂ 1883-1917ȟ ȃຳᒜᛴಽȞErnest Francisco FenollosaȂ1853-1908ȟ ȃћ՚ ȃਮੀȞSusanne K. LangerȂ1895-1985ȟ ୛ȞErnst Cassirer, 1874-1945ȟ ๊ঢ়ϟᇴȂ‫ڐ‬ᄃуউഎϛ࢑ᝓੀ‫ޠ‬ᇮّᏱঢ়Ȅೊ‫ڸ۔‬ຳᒜᛴಽְᇅᛂ኉ ȞEzra PoundȂ1885-1972ȟԥᜱȂᄈ౫хлဏЏ‫࢑ڐ‬ཏຬࣃ‫ޠ‬ၒᏱᢏ‫܉‬ କႇ२्‫ޠ‬ձңȇਮੀࠍ౐‫ڨ‬ћ՚୛ኈ៫ȂΡ΢௄লᏱِ࡚ः‫ف‬ຬኊ‫ޠ‬ ཏဏȄ࿌ด೼‫ٳ‬፤޲എᜱЗᇮّᇅၒ‫޲ܗ‬᛻೛‫ޠ‬ᜱ߾ȂӱԫାЅϏ‫ڸ‬ధ ડᡤᙥпМእ‫ڐ‬Ϝ‫ޠ‬ᇮّᏱ፤ख़Ȃਞ‫ݏ‬ઊᄕȄ. 15 16. 17. “Tu Fu's ‘Autumn Meditations’”Ȃp.73Ȅ ୥Մ Tsu-Lin Mei and Yu-Kung Kao, “Syntax, Diction, and Imagery in T’ang Poetry,” Harvard Journal of Asiatic Studies 31 (1971),p51, note 1ȇధડᡤȲ‫ޠש‬ᏱࡧᐤโȳȂѯ ᢋτᏱӔӤఁ‫ېي‬সཽጢȮଢؒ‫຺ڠ‬ȯ ȞѯіȈѯᢋτᏱя‫ޏ‬ϜЗȂ2007ȟ Ȃॳ 12-15Ȅ “Syntax, Diction, and Imagery in T’ang Poetry”,p90Ȅ.

(8) 60! ࢈τϜНᏱൣ! ಒΫ෉. Ȳভၒ‫ޠ‬Ѱ‫ݳ‬ȃ௪᜞ᇅཏຬȳΚНঅூ‫ݨ‬ཏ‫ޠ‬ӵРԥΡȈ Κȃձ࣐ᇮّᏱᇅНᏱः‫ޠف‬๗ӬȂ೼࢑Ρ΢Ӭձः‫ޠف‬Κঐུ କᘉȄӶԫпࠊధડᡤ෇ึߓႇȲН‫ݳ‬ᇅၒϜ‫ޠ‬ዂ࿵ȳ Ȃ 18஠ ፤ভхࡢ๙ၒȇ࿌Ϝ‫ޠ‬ᐹάሌԓ‫ڦ‬Ӫϑ࡟݃ᡘȂӤਣӱ㡱‫݋‬ςஆ Ȟtransformational ȞNoam Chomsky, 1928-ȟ‫ޠ‬ȶᡑඳɯҢԚᇮ‫ݳ‬ȷ -generative grammarȟ‫ޠ‬ኈ៫Ȃ‫ڐ‬२ᘉܺӶȶၒᇮّȷࡪኻҢ ԚȂՅϛ࢑ȶၒѓ૗ȷԄեึදȇՎܼȲ؈‫ޠظ‬Ȯऎᑺȯ ȳΚ ȂᄈভၒпՎ Нࠍ࢑ঐրձࠣ‫ޠ‬ᄃር‫״‬ຠȞpractical criticismȟ Ϝ୾ၒᅉ༉ಜ‫ޠ‬඾ႈ౫ຬґཷձ౐Τ௥‫ف‬ȄԫНࠍ໡৥ΠΡ΢ ᄈȶၒѓ૗‫ޠ‬౪፤ȷ Ȟtheory of poetic functionȟ‫ޠ‬௥ଇȄ 19 ΡȃԫНл्࢑‫ݽ‬㡱ཏຬ‫ޠ‬ʝ፤ᘟ‫ޠ‬ȃߩഀೲ‫ޠ‬ʝഀೲ‫ޠ‬ȃޫ໣‫ޠ‬ ʝਣ໣‫ޠ‬ȃࡋᢏ‫ޠ‬ʝлᢏ‫ޠ‬ංಣໆЗձଇ፤Ȅ20‫ڐ‬Ρϰ፤Քீ ߩளᐩࠕȂାЅϏࡤ‫ޠٿ‬ȶज‫ڑ‬ȷ፤‫ࡧޠ‬ՄዂԓᇅԫࣻߗȄ Ȳভၒ‫ޠ‬ཏဏȃᗵൖᇅ‫ࢉڑ‬ȳࠍ࢑ᄰቿᘁ݃‫ޠ‬๗ᄻлဏः‫ف‬ȇӓН п໰өҁීȞRoman JakobsonȂ1896-1982ȟ‫ޠ‬ȶᄈ๊঩౪ȷ࣐л्፤ ᐄȂ‫ٯ‬਴ᐄϜ୾ߗᡞၒ‫ݸޒޠ‬ᄈ໰өҁීϟᇴձя‫״‬ሼ‫ڸ‬ঔॐȄ੬ր࢑ ࡿя໰өҁීпȶၒᇮّȷᇅȶСளᇮّȷ࣐‫ڎ‬ᆎᄡดϛӤ‫ޠ‬ᇮّϟϛ ࿌ȇᇰ࣐Ρ޲‫ڐ‬ᄃѬԥโ࡚‫ޠ‬ৰր˕˕СளᇮّԥၷӼϸ‫ݚ‬ԚϸȂՅၒ ᇮّԥၷӼ‫ޠ‬ᗵൖԚϸȇՅᗵൖԚϸᇅཏຬᇮّȃઢၘࡧᆱࣻᜱȂϸ‫ݚ‬ Ԛ ϸ ࠍ ᇅ ‫ ڽ‬ᚡ ᇮ ّ Ȟ propositional languageȟȃ ྆ ‫ ܉‬ᇮ ّ Ȟ conceptual languageȟԥᜱȄ 21 ೼ঐᢏᄇِ࡚ҔԂ஡Ȳভၒ‫ޠ‬Ѱ‫ݳ‬ȃ௪᜞ᇅཏຬȳ ᇅԫНഀೲକ‫ٿ‬Ȅ‫ڎ‬጖НതȂΚ௄ᇮ‫ِ࡚ݳ‬ȂѫΚ௄ᇮཏِ࡚ȂϸഋϹ ΤȂՅϤ࣐‫ڴ‬ᔗȂέ၅٘Π໰өҁී஠ཏܼᇮॲ‫ޠ‬፤ख़Ȅ Ȳভၒ‫ޠ‬ཏဏȃ ᗵൖᇅ‫ࢉڑ‬ȳঅூ‫ݨ‬ཏ‫ޠ‬ѫѵ‫ڎ‬ᘉ࢑ᄈȶ‫׶‬௒ၒȷ‫ޠ‬஠࿾ଇ፤ȂпІົ ຺ུ‫״‬ຠ‫ڸ‬๗ᄻлဏ‫ޠ‬ȶНҐϜЗȷ‫ޠ‬ཏᜌȄ. 18. 19 20 21. ధડᡤȲН‫ݳ‬ᇅၒϜ‫ޠ‬ዂ࿵ȳ Ȃ ȮϜѶः‫ف‬ଲᐤѭᇮّः‫ܛف‬໲ёȯ Ȃ39 ҐαьȞ1969 Ԓ 1 УȟȂॳ 83-123Ȅ “Syntax, Diction, and Imagery in T’ang Poetry”,p63Ȅ “Syntax, Diction, and Imagery in T’ang Poetry,”59. Yu-Kung Kao and Tsu-Lin Mei, “Meaning, Metaphor, and Allusion in T'ang Poetry,” Harvard Journal of Asiatic Studies 38.2 (1978.12): 349-351..

(9) ௄ࡢၒज‫ژڑ‬Ϝ୾НϾѭ‫׶ޠ‬௒༉ಜ˕˕ାЅϏȶ‫׶‬௒ज‫ڑ‬፤ȷߒ௥! 61. НϜᖟяऽᇮມ‫ܛڑ‬ί‫ޠ‬ȶ‫׶‬௒ၒȷۢဏȈϲৡ୒२лᢏᇅ௒དȂ ‫ם‬ԓࠍᙐङᆨෲȄпԫᢏขϜ୾‫ߗޠ‬ᡞၒȂЏ‫ڐ‬ഷ฼጖‫ޠ‬ϥّ๙ѰȂᇰ ࣐ഷ૗ಓӬ೼ঐۢဏȄՅၒᖓձ࣐ߗᡞၒ‫ޠ‬ཏဏ൑՞Ȃ‫؂‬Ѡᇴ࢑Κॷϊ ࠯‫׶ޠ‬௒ၒȄέ௄ቔ቗‫ڸ‬ᗪᔓ๊‫ّޠ‬፤Ȃցᘟ‫׶‬௒፤ख़‫ޠ‬Սញཏᜌܼۗ ϳ්ਣ෉ȂࣦՎп࣐ቔ቗ϟ፤ӠᜍΠȶᄈ๊঩౪ȷȂᄈၒ‫ޠ‬๗ᄻϸ‫ݚ‬ᄃ ԥ‫ڐ‬Ϝ୾‫ޠ‬ҐྜȄ22೼၈ᄈȶ‫׶‬௒ၒȷ‫ޠ‬ଇ፤Ѭ૗ᆘ࢑ґ‫ٿ‬ାЅϏȶ‫׶‬ ௒ज‫ڑ‬ȷ፤‫ޠ‬ᚘ࠯ȂկࠔѠпᡘұ೼ঐ፤ख़‫ޠ‬କؐᘉȄ ՎܼȶНҐϜЗȷ፤‫຺ົޠ‬Ȃл्ُܼାȃధᄈ໰өҁී‫ޠ‬ȶᄈ๊ ȂՅу ঩౪ȷᇴ‫ޠ‬ϛᅗȂп࣐໰өҁීՍܼ࠭НҐ‫ޠ‬ȶّᇮȷ Ȟparoleȟ উ‫ޠ‬፤ख़ࠍ‫ݨ‬ཏ‫ژ‬ၒϜȶّᇮȷ‫ޠ‬ᇮཏၽձ౟ਗ਼‫؂‬τ‫ޠ‬ጓ൝Ȃ‫؂‬ដІၒ ᇅ༉ಜ‫ޠ‬ᜱ߾ȂӱԫуউՍп࣐ᘜ಴Πུ‫״‬ຠ‫ڸ‬๗ᄻлဏᇮّᏱ‫ޠ‬ఁ ఩Ȅ23౫Ӷࣽ‫ٿ‬ȂԫН‫ޠ‬፤ख़ጓ൝‫ڐ‬ᄃᗚ୅੽ӶНᏱ‫ޠ‬ȶϲഌ૖๝ȷҴ ّȂᄈަཽਣх‫ޠ‬τनෂȂϬ‫ء‬ԥដІȄϛႇȂ‫ש‬উѠп੽ཏ೼ᆎ‫܂‬ѵ ࣽ‫ޠ‬ཏᜌࡤ‫ٿ‬ӶାЅϏ‫ޠ‬ȶज‫ڑ‬ȷ፤ԥեึ৥Ȅ. ѳȃНᏱः‫ف‬ᇅजདစᡜ 2000 ԒధડᡤӶѯᢋτᏱᅌᗀȂӲᏺу‫ڸ‬ାЅϏӬձኦቹȶߗᡞၒ ः‫ف‬ȷ‫ޠ‬ॏდᔥ఼Ȉ ‫ש‬ᅛᅛᕤ၍‫ܓޠש‬ੀ਴Ґϛᎍܼः‫ف‬НᏱȄȌȌܼ࢑Ȃ “Meaning and Metaphor in T’ang Poetry” 1976 ԒึߓࡤȂ‫ש‬ ൸ၮНᏱϸΠঢ়Ȅ 24 ೼၈ȞధડᡤȟһхΠାЅϏпࡤᑀՍαၰ‫ޠ‬नෂȄାЅϏӶ 1978 Ԓ‫ ژ‬1979 ԒӶѯᢋτᏱࡋ৵ਣึߓή጖ߩள౪፤Ͼ‫ޠ‬НതȂҦȶစᡜ. 22 23 24. “Meaning, Metaphor, and Allusion in T'ang Poetry,” 319, 323-324, 349. “Meaning, Metaphor and Allusion in T’ang Poetry”,p347-348Ȅ Ȳ‫ޠש‬Ᏹࡧᐤโȳ Ȃॳ 12-15ȄНϜԥ‫ٳ‬ಡ࿾ϛЋྦጃȈ“Meaning, Metaphor and Allusion in T’ang Poetry” ΚНึߓܼ 1978 ԒȂկНጉϑԟһҦ༂ࡈጓϜណȂܼ 1975-1976 Ԓ ӶȮϜѵНᏱȯёၸȄధડᡤࡤᗚԥᇅНᏱࣻᜱ‫ޠ‬຀ख़ȂԄ 1982 Ԓ‫ޠ‬Ȳ௄ၒࡢ‫ڸ‬ᇮ ‫ࣽٿݳ‬ȮฑӇন‫ۏ‬ȯ‫ޠ‬ቹձԒхȳ Ȃ Ȯѭᇮ‫ܛ‬໲ёȯಒ 53 ‫ڣ‬ಒ 2 ෉Ȟ1982 Ԓȟ Ȃॳ 227-249Ȃ 1991 Ԓᇅధᆱ㠈ȞVictor MairȟӬቹ“The Sanskrit Origins of Recent Style Prosody,” HJAS 50.2 (1991.12)Ȃp.375-470ȇ጖ϜЖңΠାЅϏȲࡢၒ‫ޠ‬ज‫ڑ‬ȳȞ1986 ԒȟΚН ‫ޠ‬л्ᢏᘉȄ.

(10) 62! ࢈τϜНᏱൣ! ಒΫ෉. ϟ‫ޤ‬ȷӶ΢Нः‫ف‬α‫ޠ‬ཏဏȂ‫ژ‬ȶजདစᡜȷ‫ޠ‬๗ᄻᇅ၍មȂಡཏ‫ݚ‬፤ȇ Ѡᇴ൩ۢΠу‫ޠ‬ȶ‫׶‬௒ज‫ڑ‬ȷ፤‫ޠ‬ஆᙄȄࡤ‫ٿ‬सϔ२्‫ޠ‬౪፤Нതഎᇅ ԫԥ‫ڴܛ‬ᔗȃঔዝ‫ึ޲ܗ‬৥Ȅԥᜱ౪፤࡛ᄻഌӌȂίНӕԥଇ፤Ȅ౫Ӷ л्ᢏᄇ೼ං጖Нത‫ޠ‬αί‫ܜ‬༉‫ޠ‬ձңȄ ାЅϏӶȲНᏱः‫ޤޠف‬ᇅّȳϜ߇Πࣻ࿌Ӽ‫੊ޠ‬Ωџࡿചȶϸ‫ݚ‬ ᇮّȷ‫׌ޠ‬४Ȃկ‫ڐ‬ᄃу‫ޠ‬ᐍᡞໍၰஆҐαᚕϛ໡ऽजϸ‫ݚ‬লᏱ‫޲ܗ‬ᇮ ّলᏱ‫ޠ‬ਲ࢝ȄᄈԫȂуӶȲНᏱः‫ޠف‬जᏱୱᚡȞαȟ ȳԥ‫ܛ‬၍មȈ ‫ޠש‬౪དྷ࢑ϼฬяΚঐȶजᏱ౪፤ȷ‫ޠ‬ᙣშȂΚР८௦‫ڨ‬Π ೼ϸ‫ݚ‬༉ಜ‫ޠ‬ᇮّ‫ڸ‬Р‫ݳ‬ȂկѫΚР८ࠔ૗চৡϜ՚НϾ‫ޠ‬ जᏱጓᛠᇅቌঅȄ 25 ାЅϏևΩ‫ޠ‬РӪ࢑Ӷᇰఽϸ‫ݚ‬লᏱ‫ޠ‬ਞңᜟࣩࡤȂᒘؒ໡‫ܦ‬ᛡρࣦՎ ፑખᜟࣩ‫ޠ‬Ѡ૗Ȅу௄ϸ‫ݚ‬লᏱ‫ޠ‬ȶ‫ޤ‬ᜌ፤ȷϹΤȂпȶစᡜϟ‫ޤ‬ȷᘘ ৥‫ޤ‬ᜌ፤‫ޠ‬ስ஀Ȃථұᇮّ‫ޠ‬ད‫ܓ‬РӪȂпᢏขȶདྷ჌зࣩȷȂпІ‫ڐ‬ Ϝ‫ܛ‬૗ᡞ౫‫ޠ‬НϾ౪དྷ‫ڸ‬ቌঅȄ ȲНᏱः‫ޠف‬जᏱୱᚡȳαί‫ڎ‬጖ϟп ȶजདစᡜȷ࣐२ЗȂη࢑ӱ࣐Ȉ ȶजདစᡜȷҔ࢑୆೪೼စᡜ࢑ᏳྜܼΚঐѵӶ‫ޠ‬ȂӔӤ‫ޠ‬ ᛻೛Ȟ‫ܗ‬Սดȟ൭ϮȄȌȌѠп௄‫ש‬উᄈ೼ѵӶ‫ޠ‬ӔӤȶ൭ Ϯȷ‫ޠ‬ᇰᜌ‫ڸ‬ᄈ೼ȶစᡜȷ‫ޠ‬དྷ჌‫ٿ‬Π၍೼ঐȶစᡜϟ‫ޤ‬ȷ ‫ܓޠ‬፵Ȃ‫ם‬ᄙȄ‫ܛ‬пഷࡤ‫ܗ‬೩‫ש‬উ૗п᛻೛‫ޠ‬जདစᡜ‫ٿ‬ᡞ ཽහኌ‫࢛ޠ‬ΚძࣩȄ 26 ᢏԫȂାЅϏ‫ޠ‬ঐ΢Ᏹ೛ึ৥ᗷดϬ࢑‫ݽ‬㡱ᇮّᏱ‫ڸ‬ᇮّলᏱϟၰ ࠊ՘Ȃկ‫ۡڐ‬ԠҭዀϑሊሊົႇȲ؈‫ޠظ‬Ȯऎᑺȯȳȃ Ȳভၒ‫ޠ‬Ѱ‫ݳ‬ȳ‫ڸ‬ Ȳভၒ‫ޠ‬ཏဏȳήНȄЩРᇴȂ Ȳভၒ‫ޠ‬ཏဏȳτ໕আң໰өҁී‫ޠ‬ȶᄈ ๊঩౪ȷଇ፤ߗᡞၒ‫ޠ‬ᄈᖓୱᚡȂӤਣࡿяᄈȶࢵ᎒঩౪ȷ‫ޠ‬ၒᏱձң ‫ޠ‬ሇ‫܈‬ԥࡠ஡‫ٿ‬၅٘ȇ‫ژ‬ȲНᏱः‫ޠف‬जᏱୱᚡȞίȟ ȳ ȂାЅϏܼȶࢵ ᎒ໆȷ൸ԥ౐Τ‫ޠ‬ଇ፤ȄНϜ೤დяΚঐᄈȶजདစᡜȷ‫ࣻޠ‬ᜱ᛻೛ႇ. 25. 26. ȲНᏱः‫ޠف‬जᏱୱᚡȞαȟȳȂȮज‫ڑ‬ȈϜ୾НᏱः‫ف‬፤໲ȯȂॳ 19ȄҐНЖख़ାЅ Ϗ‫ޠ‬፤ख़Ȃଷߩրԥᖑ݃Ȃࣲпі‫ٶ‬ήᖓȮज‫ڑ‬ȯ࣐ᐄȄ ȲНᏱः‫ޠف‬जᏱୱᚡȞαȟȳȂॳ 20ȄାЅϏп࣐ȶजདစᡜȷ࣐ȶቌঅȷϟߓ౫ РԓȂӱԫȶၿ኉౪དྷȷηѠпՍԚΚᆎज‫ޠ‬ძࣩ‫ޠ‬ᄃ౫ȇُॳ 38Ȅ.

(11) ௄ࡢၒज‫ژڑ‬Ϝ୾НϾѭ‫׶ޠ‬௒༉ಜ˕˕ାЅϏȶ‫׶‬௒ज‫ڑ‬፤ȷߒ௥! 63. โձȶ၍មȷ‫ڸ‬ȶᢏྲȷ‫ޠ‬፤ख़࢝ᄻȈᇰ࣐८ᄈȶစᡜ؆ਠȷѠпԥѳ ȃ๊অ‫ޠ‬Ȟequivalentȟ ȃ‫ޠ៊۾‬ ᆎѠ૗‫ޠ‬၍មРԓȈ‫ޣ‬ញ‫ޠ‬Ȟintuitiveȟ Ȟcontinuousȟȃѵጣ‫ޠ‬Ȟcontextualȟȇȶ‫ޣ‬ញ‫ޠ‬ȷя౫Ӷߒۗ‫ޠ‬௦ដ໧ ࢳȂՅȶ๊অ‫ޠ‬ȷ‫ڸ‬ȶ‫ޠ៊۾‬ȷ Ȃ឵ܼ๗ᄻ໧ࢳȂ ȶѵጣ‫ޠ‬ȷࡿӪഷಥ‫ޠ‬ ౪དྷᡞ౫໧ࢳȄܼ࢑ȂࠊН‫୒ޠ‬२‫ڸ‬ґ೏౪‫ޠ‬ഌϸȂ౫Ӷഎԥচ៬Ȃ२ ུೞဋܼܺΚঐීด‫قޠ‬ಜ࢝ᄻϟϲȂ௄ȶᄈ๊঩౪ȷ‫ڸ‬ȶࢵ᎒঩౪ȷ ‫ِ࡚ޠ‬၍មȶ๊অȷ ȃ ȶ೾‫ܓ‬ȷ ȃ ȶ‫៊۾‬ȷ ȃ ȶ༉ಌȷ๊๗ᄻձңȄ 27 ӕԄп‫܂‬Ȳভၒ‫ޠ‬ཏဏȳፚ‫ژ‬ȶ‫׶‬௒ၒȷ Ȃ݃ᡘпȶᡞ᜹ȷ࣐㡱ಂ ᘉȂп՚РН᜹‫ޠ‬ȶlyricȷۢဏ࣐ᐄȂᇅϜ୾ߗᡞၒϜഷ฼ϊ‫ޠ‬ϥ๙ձ ପᄈȂпᜍԚ໰өҁී‫ޠ‬ȶၒᏱѓ૗ᇴȷ Ȉ ȶၒ‫ޠ‬ѓ૗Ӷܼ‫ױ‬ᄈ๊঩౪௄ ȳ Ȃ ȶ‫׶‬௒ȷ‫ޠ‬ ᒶᐆໆ‫ژৣ׺‬ಣӬໆȷ Ȅ 28ӶȲНᏱः‫ޠف‬जᏱୱᚡȞίȟ २ᘉϑစϛӶܼȶΚঐ༉ಜα‫ޠ‬Ⱥᡞ᜹Ȼ‫ޠ‬ᢏ‫܉‬ȷ Ȃ ȶϛѬ࢑஠ࡿ࢛Κၒ ᡞȃНᡞȂηϛ४ܼ࢛Κлᚡȃᚡષȷȇኅဏ‫ޠ‬ȶ‫׶‬௒ȷోᇑΠȶᐍঐ НϾѭϜ࢛Κ‫ٳ‬΢‫ޠ‬Ⱥཏᜌ‫ם‬ᄙȻєࢃуউ‫ޠ‬ȺቌঅȻȃ Ⱥ౪དྷȻȂпІ уউ‫ڏ‬ᡞߓ౫೼ᆎཏᜌ‫ޠ‬РԓȷȄஆܼԫȂуණҔԓණяȶ‫׶‬௒༉ಜȷ ‫ޠ‬ᢏ‫܉‬Ȃпኅဏ‫ޠ‬ȶၒّ‫ע‬ȷҨ݃Ϝ୾ȶ‫׶‬௒ȷ༉ಜ‫ޠ‬਴ҐᆡઢȄ೪ۢ Π೼ঐनෂȂᡞ᜹‫ޠ‬ཏဏ൸ϛӕ࢑ᇴ݃Ȉ ȶ೼ঐձࠣ឵ܼեᡞȉե᜹ȉ ߓ౫եᆎቌঅᇅ౪དྷȉȷՅ࢑ȶ࣐ࣦቅѻ឵ܼԫᡞ᜹Ȃ૗ߓ౫ԫᆎቌ অȉȷ೼ਣȂାЅϏᖟяȶࡢၒȷ ȞՅϛ࢑єో‫؂‬ኅ‫ޠ‬ȶߗᡞၒȷ Ȃ‫޲ܗ‬ ‫ڏ؂‬ᡞ‫ޠ‬ȶϥّ๙Ѱȷ ȂԄȲভၒ‫ޠ‬ཏဏȳ‫ܛ‬ख़ȟձ࣐ȶ‫׶‬௒ၒϟ‫࠯ڑ‬ȷȂ п࣐ȶ ȺࡢᡞȻՍԥΚज‫ڑ‬ȷȂՅȶຝϟ࣐‫׶‬௒ᆡઢ‫ޠ‬ਰЗȷȄҦܼ೼጖ Нതਗ਼І‫ޠ‬८Ӫኅ‫ހ‬ӼӪȂณ፤ȶ‫׶‬௒༉ಜȷ‫ڸ‬ȶࡢၒज‫ڑ‬ȷഎѬ૗เ เដІȄ29‫౐؂‬Τ‫ޠ‬௥ଇȂُ፞ᓎࡤ‫ߞޠ‬጖஠፤Ȃ‫پ‬ԄାЅϏӲ‫ژ‬ज୾Ȃ ȶၒ‫ޠ‬ᅌϾȈ௄ᅖ‫ژ‬ভȷ ཽឋ ȞEvolution of Shih Poetry from Ӷ 1982 Ԓ୥ђ the Han through the T’angȟ‫ܛ‬ණ һ‫ޠ‬፤Н˕˕Ȳࡢၒ‫ޠ‬ज‫ڑ‬ȳȞThe Ȅ Aesthetics of Regulated Verseȟ. 27 28 29. ȲНᏱः‫ޠف‬जᏱୱᚡȞίȟȳȂȮज‫ڑ‬ȈϜ୾НᏱः‫ف‬፤໲ȯȂॳ 60-77Ȅ “Meaning, Metaphor and Allusion in T’ang Poetry,” 315-319. ȲНᏱः‫ޠف‬जᏱୱᚡȞίȟȳȂॳ 80ȃ83-84ȃ85Ȅ.

(12) 64! ࢈τϜНᏱൣ! ಒΫ෉. ϥȃࡢၒ‫ޠ‬ज‫ڑ‬ ӶґໍΤȲࡢၒ‫ޠ‬ज‫ڑ‬ȳΚН‫ޠ‬ϜЗ፤ԠਣȂ‫ש‬উѠпӒፚፚȶज ‫ڑ‬ȷΚມȄϜН‫ޠ‬ȶज‫ڑ‬ȷΡԆȂѠᇴ࢑ାЅϏ፤ख़‫ޠ‬ΚঐዀᡇȇуӶ і‫ٶ‬я‫ޠޏ‬፤Н໲൸ഄᚡձȮज‫ڑ‬ȯ Ȃ୚ᚡϘ၅٘ȶϜ୾НᏱः‫ف‬፤໲ȷ ‫ޠ‬ᇴ݃ȄࠊԫାЅϏӶу‫ޠ‬ϜННതȲНᏱः‫ޠف‬जᏱୱᚡȞίȟȳಒ ΚԪң‫ژ‬೼ঐ೛ᇮȇНϜණ‫ژ‬у஡ȶࡢᡞ‫ޠ‬ΚᆎՍԥ‫ޠ‬Ⱥज‫ڑ‬Ȼ Ȃຝձȶ‫׶‬௒ᆡઢ‫ޠ‬ਰЗȷ Ȃկ‫ء‬ԥໍΚؐ၍ᇴȶaestheticsȷ Ȟestheticsȟȷ Ȅ30ӶҐН‫ޠ‬໡ॷȂуණ‫ࡢژ‬ၒԥȶ዗ Ȟ‫ ܗ‬estheticsȟ࣐ե्ណձȶज‫ڑ‬ȷ ᙡ‫ޠ‬ज‫ڑ‬ȷ Ȟunderlying aestheticsȟȂᇴ೼ज‫ڑ‬Ҧ೩ӼӱષಣԚȂєࢃၒ ΢ԄեӶΚۢ‫ם‬ԓ೤४ϟίཱ๗ձࠣȂԄեІ࣐եᒶᐆ࢛ᆎлᚡȂձࣦ ቅ ࡧ དྷ ‫ ڦ‬Ӫ ๊ ȇ ೼ ‫ ܛ ٳ‬ԥ ‫ ޠ‬ᒶ ‫ ڦ‬ձ ࣐ ᖃ Ӭ କ ‫ ٿ‬Ȟ this integral of choicesȟȂ൸ആԚΠၒ‫ޠ‬जད‫ڸ‬ቌঅȄାЅϏέᇴ೼࢑ၒ΢‫ڸ‬᠟޲Ӕԥ ȄԥΠ೼ಓጇȂၒ΢Ѡп ‫ޠ‬Κᆎȶၜម‫ޠ‬ಓጇȷ Ȟan interpretative codeȟ ȂՅ᠟޲ηѠпስཽ೼‫ٳ‬नࡤ‫ޠ‬ ϛ‫ܼښڨ‬Ԇ८‫ޠ‬ཏࡧȞtextual meaningȟ Ȅ೼ᆎȶಓጇȷ‫ߩٯ‬ঐր‫ؾޠ‬ңஞጇȂկ ཏဏȞcontextual significanceȟ έϛ࢑Κ‫݃ٳ‬Нಡࠍȇձ޲᠟޲എ࢑௄‫ڑ‬ጓձࠣϟЗስઢཽ Ȟinternalizing modelsȟՅூпජඬȄ 31 ାЅϏᄈΚૢណձȶजᏱȷ‫ޠ‬ ȶaestheticsȷձ೼ኻ‫ޠ‬౪၍ȂՍԥ‫ڐ‬Κೲ‫ޠ‬఩౪Ȃηᇅ‫ڐ‬౪፤‫ޠ‬ฑᘉԥ ᜱȂίНӕཽ፤ІȄՅȲࡢၒ‫ޠ‬ज‫ڑ‬ȳ‫ܛ‬፤Ȃࠍ࢑ାЅϏᄈࡢၒᡞԓࣻ ᔗ‫ޠ‬өᆎज‫ޠڑ‬ᒲᜌȄ Ȳࡢၒ‫ޠ‬ज‫ڑ‬ȳл्ԥ‫ڎ‬τഌϸȈΚ࢑፤ȶϥّၒȷ ȂΡ࢑፤ȶࡢ ၒȷ ȄӶ‫ڎ‬ഌϸөࠆп፤ȶॲࡢ೤ࠍȷІȶঔ᜞೤ࠍȷ‫ڎ‬࿾Ȃดࡤܼȶϥ ّၒȷഌϸӕԥȶԟ෉‫׶‬௒ज‫ڑ‬ᇅȮѡၒΫΟॷȯȷȃ ȶϳ්ज‫ڑ‬Ȉ௄ύ Ьၒ‫ژ‬য়ᡞၒȷ‫ڎ‬࿾ȇ ȶࡢၒȷഌϸࠍԥȶߒভၒ΢‫ޠ‬᛻೛ຝძȷȃ ȶ౿. 30 31. ȲНᏱः‫ޠف‬जᏱୱᚡȞίȟȳȂॳ 85Ȅ “The Aesthetics of Regulated Verse,” in Shuen-fu Lin and Stephen Owen eds., The Vitality of the Lyric Voice: Shih Poetry from the Late Han to the T’ang (Princeton: Princeton University Press, 1986), pp. 332-333.ାЅϏӶНത‫ޠ‬ಒΚঐພមᖑ݃у‫ܛ‬ң ‫ޠ‬ȶaestheticsȷΚມȂ࢑пԈН‫ܛ‬ԋ‫ޠ‬Ȯ౿ভၒȯΚਫ‫ܛ‬ᇴ࣐ᐄȄկ᙮ᔯԈНϟਫȂ ᠟޲ཽึញ࿌Ϝ‫ܛ‬ң“aesthetics”ΚມѬ࢑Κૢ‫ޠ‬ң‫ݳ‬Ȃ‫ءٯ‬ԥାЅϏ‫ܛ‬ᗀ‫ޠ‬੬ੇཏ ࡧȇُ Stephen Owen, The Great Age of Chinese Poetry: The High T’ang (New Haven: Yale University Press, 1981), p14Ȅ.

(13) ௄ࡢၒज‫ژڑ‬Ϝ୾НϾѭ‫׶ޠ‬௒༉ಜ˕˕ାЅϏȶ‫׶‬௒ज‫ڑ‬፤ȷߒ௥! 65. ভȺύЬၒ΢Ȼ‫ޠ‬Ң‫ڽ‬ຝძȷ ȃ ȶ౿ভҒ෉؈‫ޠظ‬Ԉ‫ۥ‬ຝძȷή࿾Ȅԥᜱ ϥّၒ‫ࡢڸ‬ၒ‫ޠ‬ȶॲࡢ೤ࠍȷᇅȶঔ᜞೤ࠍȷϟึ৥Ԛ‫ם‬Ȃѡϭ፤ख़Ӷ ‫ܛ‬ӼԥȇԄࡿяϥّၒ໡৥Πॲ࿾Ȟsyllableȟαԥ೤ࡢέԥᡑϾ‫ޠ‬ၒ ՘ੀԓȂࡢၒӶȶ҂ϯȷ ȃ ȶᄈфȷ ȃ ȶᘈᄈȷ๊Ԛ೤‫ޠ‬ᅌໍ๊Ȃְ࢑НᏱ ѭαளُϟ፤ȄЩၷঅூ‫ݨ‬ཏ‫࢑ޠ‬ାЅϏܼԫ‫ݽ‬ңу‫ڸ‬ధડᡤӬձଇ፤ ‫ޠ‬РӪȂ௄ᇮ‫ݳ‬ᇅᇮཏ‫ِ࡚ޠ‬Ҩ፤ȇ‫پ‬Ԅϸ‫ݚ‬ȶӫມȷлᏳၒ՘ᇅЎң ȶ ຏ Ԇ ȷ ‫ ޠ‬ཏ ဏ ȃȶ ᚡ ម Ѱ ȷȞ topic-comment ȟ ‫ ڸ‬ȶ л ᒞ Ѱ ȷ ȶၒᖓȷᅛᅛԚ࣐๗ᄻ൑՞ȃ Ȟsubject-predicateȟᄈၒ՘ᇅၒᖓ‫ޠ‬ኈ៫ȃ Ȟsentenceȟϟր๊Ȅ‫؂‬ᆡீ‫࢑ޠ‬௄ȶᄈ๊঩౪ȷ ȶ՘ȷ ȞlineȟᇅȶѰȷ џࡧՄȶ᜹ӤȷᇅȶᄈྲȷӶࡢၒԚ೤α‫ޠ‬ձңȂпІӱȶᄈ๊ȷആԚ ‫ޠ‬ၒᖓᑀҴᇅᔕ၅ᑀҴϸഹՅя౫‫ޠ‬ȶഀ៊ȷ‫ܓ‬ၒᖓ‫ޠ‬ཏဏ๗ᄻȄ32‫ٲ‬ ᄃαȂ೼‫ٳ‬፤ُഎ຃ึܼԟ෉ାȃధӬኦ‫ޠ‬ভၒ፤НȂӶԫӕԥ౐ϾȄ пα೼‫ٳ‬ȶ೤ࠍȷ Ȃᗚϛ૗๊ӤܼାЅϏ‫ܛ‬ᒞȶज‫ڑ‬ȷ ȄାЅϏᇰ࣐ ᓎ㡱ϥّၒᡞᇨጃҴՅུҢ‫ޠ‬ȶ‫׶‬௒ज‫ڑ‬ȷȂ਴ྜܼѡϑԥϟ‫ޠ‬ȶၒّ ‫ע‬ȷၒᏱ༉ಜȇуέ௄ȶߓ౫ȷ‫ٿِ࡚ޠ‬ၜម೼ѰၘȂࡿяȈ्ߓႁȶ‫ע‬ȷ ˕˕ϲЗзࣩ˕˕҇໹्ഇႇ᛻೛ᇮّ˕˕ȶၒȷ ȃ ȶНȷ ȞԄȮѿ༉ȯ‫ܛ‬ ᒞȶّп٘‫ע‬ȂНпّ٘ȷ ȟ ȇЗ‫ע‬ϟ֖౫Ȃέ‫ٻ‬ூȶՍ‫ש‬ȷ Ȟselfȟூп ‫ึ׶‬ȃ ȶՍ‫ש‬ȷூ‫ژ‬ᡞᇰȇ‫ڐ‬Ϝᜱᗥ‫ڎޠ‬ঐโ‫࢑ז‬ȶϲϾȷ Ȟinternalizationȟ ‫ڸ‬ȶ‫ם‬ԓϾȷȞformalizatonȟȄାЅϏп࣐೼‫ڎ‬ঐโ‫࢑ז‬ȶ‫׶‬௒ज‫ڑ‬ȷ ȃ ȶඣቹȷ ‫ޠ‬ஆҐȄуᇰ࣐ၒՍۗԥήᆎዂԓȈ ȶఅ‫ٲ‬ȷ Ȟnarrative modeȟ Ȟlyric or expressive Ȟdescriptive modeȟ‫ڸ‬ȶ‫׶‬௒ዂԓȷ‫ܗ‬ȶߓ౫ዂԓȷ Ȅ ȶఅ‫ٲ‬ዂԓȷӶҖ໣НᏱϜࢻ՘Ȃ ȶඣቹዂԓȷࠍึඵܼᅖ፮Ȃ modeȟ Յȶ‫׶‬௒ዂԓȷࠍӶȶϥّၒȷԚҴпࡤԚ࣐лࢻȄӱ࣐ϥّၒ‫ޠ‬ᡞᇨ ੬ኊȂϛւܼȶఅ‫ٲ‬ዂԓȷ‫ޠ‬ᔗңȈԄၒᖓ‫ޠ‬ᑀҴՍֺ٘ᛥΠఅख़‫ޠ‬ጤ ‫ึܓ‬৥ȂᗘңຏԆ৶ϾΠఅख़‫ޠ‬ᇮ‫๊ݳ‬Ȅ ȶඣቹዂԓȷ‫ޠ‬௒‫ݸ‬ԂΚᘉȂ ӱུ࣐ᡞᇨ‫ޠ‬ၒᖓ๗ᄻȂѠпӶਣ໣ࢻโϜ֖౫ޫ໣Ȃԥֆඣቹ‫ึޠ‬ දȄпȮѡၒΫΟॷȯ‫ٿ‬ᇴȂ‫ڐ‬ϜΫΝॷ࢑ȶ‫׶‬௒ȷ Ȃ‫࢑ॷڎ‬ȶඣቹȷȂ ณΚ࢑ȶఅ‫ٲ‬ȷ Ȅ ାЅϏέᇰ࣐τഌϸȮѡၒΫΟॷȯ‫ޠ‬໡ᆓȂณ፤ᇅίНԥณ‫ޣ‬௦ ᜱᖓȂ‫࢑܂܂‬Սดෂ‫֖ޠޑ‬౫ȇҾդၒ΢Ӷដ‫ޑ‬Յ୞ϟࡤȂ्ᙥၒӪղ 32. “The Aesthetics of Regulated Verse”, pp335-338ȃ351-361Ȅ.

(14) 66! ࢈τϜНᏱൣ! ಒΫ෉. ་ຨу‫ޠ‬ད‫ڨ‬ȄାЅϏέп࣐ȮΫΟॷȯө጖‫ޠ‬๗‫֖܂܂׏‬౫ၒ΢ᇅу ‫݊ޠ‬Ѕ‫ޠ‬һࢻϤ୞Ȅ೼ᆎ໡ᆓᇅ๗‫ޠ׏‬๗ᄻРԓȂഎ࢑Сࡤ‫׶‬௒ၒ‫ึޠ‬ ৥РӪȄՎܼȮΫΟॷȯϜ‫ޠ‬ඣቹዂԓၒ጖Ȃ‫ڔܛ‬ฬҼ࢑ၒ΢८ᄈѵࣩ Սด‫ޠ‬ӠຬȂ‫౐ڐ‬ቺϬ࢑ၒ΢‫׶ޠ‬௒Ȅ‫ڐ‬уၒ጖Ϝ‫ڿ‬ดϛнඣቹԚϸȂ կഎೞᒋӬ‫׶ژ‬௒‫ߓޠ‬ႁዂԓϟϜȄᄈѵ‫ޠޑ‬ңЗඣቹ‫ڐ‬ᄃ൸࢑ң໣௦ ‫ޠ‬Р‫ݳ‬џߓႁ٦ᜳпّൖ‫ޠ‬ϲЗзࣩȄϲЗ౐೏ࢌϛܿដᄦȂࠍпା࡚ ‫ם‬ԓϾ‫ޠ‬ᇮّȞformalized languageȟቹ૗ُ‫ޠ‬ѵ‫ޑ‬Ȃ‫࢑ܗ‬ԣ৸೾ࡘ‫ޠ‬ ΚঐѠ՘Р‫ݳ‬Ȅӱԫ‫ٸ‬ାЅϏ‫ޠ‬ᢏᘉȂ ȶ‫׶‬௒ज‫ڑ‬ȷ‫ޠ‬л्РӪ൸࢑ึ ৥Κᆎ٘пߓႁϲЗзࣩ‫םޠ‬ԓϾᇮّȄ 33 ӶȮѡၒΫΟॷȯпࡤȂାЅϏп࣐ȶඣቹȷዂԓึ৥Ԛȶຟ‫ޑ‬ၒȷ Ȃ ȶߓ౫ȷዂԓᅌϾԚȶຟᛅၒȷ Ȅ‫ݽ‬㡱೼ঐࡧၰȂуӕ௥સΠȶၾчၒȷ ȃ ȶҝّၒȷ ȃ ȶύЬၒȷ ȃ ȶয়ᡞၒȷ Ȅ‫ڐ‬Ϝȶয়ᡞၒȷೞᇰ࣐࢑ȶࡢၒȷ ‫ޠ‬ȶડ࠯ȷȞprototypesȟȂାЅϏಡጞӵਸ౪ȶ‫׶‬௒ज‫ڑ‬ȷӶԫ෉໣‫ޠ‬ ึ৥Ȅу࡟㡱ཏଢᙺၒ΢‫ޠ‬ϲЗစᡜȈԄ٫ᝳຟᛅ‫ޠ‬ਚ‫׸‬ȃ۟ᑀȃณ‫ۋ‬ȇ ർஷȃ഍ᑅӶၾчȃᗵ໌ᇅՍຨ଀ᛅ໣෭ٗȂழ‫ٿ‬Π዆ᢏ‫ޠ‬Քீȇకиȃ ஼๽ȃᗃ᡺ၽȂпՎᗃ὾๊ᄈདۣစᡜ‫ޠ‬໡ึȄуη੽Зߓႁ‫ם‬ԓ‫ໍޠ‬ ৥ȈԄȮΫΟॷȯпᗚᄈф‫׭‬Ѿ‫ޠ‬ᅌໍȇᗃ᡺ၽпᄈୌ֖౫ύЬၾ㢿‫ޠ‬ ѾֽȇпІॲࡢ‫ึޠ‬৥๊๊Ȅу‫ޠ‬๗፤࢑‫ژ‬Πȶয়ᡞၒȷਣȂၒ‫ߓܛ‬ႁ ‫ޠ‬ϲЗзࣩȂϑစϛ४ܼཏӪȃཏ‫܉‬ȂηϛЦܼࡧདྷ‫ڸ‬ད௒ȇདۣᡞᡜ ҔԓೞાΤ᛻೛စᡜ‫ޠ‬ጓ൝Ȅϛ‫ޤ‬ϛញ໣Ȃၒ‫ྯޠ‬ነЗԣೞजᢏᇅ‫ڸ‬ᒚ ‫ޠ‬შຬ‫ڦ‬хΠȄ ȶӠຬȷᇅȶߓ౫ȷϛӕᄈҴȄҦ࢑ȶয়ᡞၒȷ‫ུޠ‬ज ‫ڑ‬ηึදΠࡼ៊‫ޠ‬ኈ៫ΩȄ 34 ାЅϏ์ί‫ޠ‬ȶ઎Ҕ‫ࡢޠ‬ၒȷӶΝзखߒ८зȄуᖟяҦߒভ‫ژ‬౿ ভήᆎȶࡢၒज‫ڑ‬ȷձ࣐ଇ፤ᄈຬȇ೼ήᆎज‫ڑ‬ϸրҦߒভၒ΢ȃеᆱȂ пІ؈‫ޠظ‬ձࠣϜϟຝძȞvisionȟ৥౫я‫ٿ‬Ȅ ଇ፤ࡢᡞ໡ۗۢ࠯‫ߒޠ‬ভਣȂାЅϏ᝸៊ᜱ‫ݨ‬ȶඣቹȷᇅȶߓ౫ȷ Ȟ֊ȶຟᛅ༉ಜȷᇅȶয়ᡞ༉ಜȷȟ‫ޠ‬๗ӬȇໍՅ၍មΚॷࡢၒԥȶѳ ᖓȷ‫ޠ‬ཏဏȄуп࣐Ҧܼ጖ൾ‫ޠ‬४‫ښ‬Ȃ๗ᄻ҇໹ᆨෲȂΚૢ൸ѬձȶҐ ᡞȷᇅȶ๗ᇮȷ‫ޠ‬Ρ२࢝ᄻȄ೼ኻΚ‫ٿ‬ȂМእࡢၒज‫ޠڑ‬ȶϲϾȷᇅȶ‫ם‬. 33 34. “The Aesthetics of Regulated Verse,” pp338-345Ȅ “The Aesthetics of Regulated Verse,” pp345-351Ȅ.

(15) ௄ࡢၒज‫ژڑ‬Ϝ୾НϾѭ‫׶ޠ‬௒༉ಜ˕˕ାЅϏȶ‫׶‬௒ज‫ڑ‬፤ȷߒ௥! 67. ԓϾȷ‫ڎ‬ঐМ࢙൸‫ם؂‬Ꮀ‫ڿ‬ΠȄуέЩၷѳᖓࡢၒᇅߞ጖ᇨձϟ౵Ȃң еЊϟ‫ޠ‬ᇴ‫ݳ‬Ȃࡿя጖ൾЋτȶߩّ௒ϟᡞȷȂ 35 ӱ࣐ၒ΢‫ޠ‬ᖑॲᜳп Мପӓ‫׌‬ȂՅਣ໣‫۾‬ᰏέ‫ٻ‬ၒ጖ѷџΠȶ౫ਣདȷ Ȅѳᖓ‫ࠍ࡚ߞޠ‬ᡲȶ‫׶‬ ௒ᖑॲȷЩၷऐяȂ ȶ‫׶‬௒Ս‫ש‬ȷ‫ڸ‬ȶ‫׶‬௒ਣ‫ڔ‬ȷூп֖౫Ȅуέᇰ࣐ ࡢၒ‫ޠ‬ȶඣቹȷᇅȶߓ౫ȷԚϸȂϸրழ‫ٿ‬ΠѵӪ‫ޠ‬Ȟextrovertedȟȃ ȂпІϲӪ‫ޠ‬Ȟintrovertedȟȃ Ӡຬԓ‫ޠ‬Ȟimpressiveȟ֖ұȞexpositionȟ ߓ౫ԓ‫ޠ‬ȞexpressiveȟՍࣹȞreflective introspectionȟȇՅѵӪ‫ڐ‬ᄃέ ࢑ΚᆎȶϲϾȷ Ȟinternalization of the externalȟȂϲӪࠔέ࣐ΠȶѵϾȷ Ȅ೼၈‫ޠ‬፤ख़Ԃ჌ᇴϲ֊࢑ѵȃѵέ࢑ Ȟformalization of the internalȟ ϲȂࣽ‫ٿ‬ାЅϏӶᅌяΚൠНԆၾᔜȂпߓ౫ᐡහȄ‫ٲ‬ᄃαȂ೼Ҕ࢑ାЅ Ϗ፤ख़՞ဋഷఽྀ‫ޠ‬ᡘұȄ‫ޠ‬ጃȂ࿌ᜱ‫ݨ‬ᘉӶȶՍ‫ש‬ȷᇅȶ౫ਣȷ‫ޠ‬੬ۢ စᡜਣȂࠍϲЗᇅѵࣩ‫ޠ‬Ϥ୞ՍดཽೞᚈܼۢΚঐ᛻೛‫ޠ‬ຝࣩϟϲȄ 36 пα‫ܛ‬ख़Ȃᔗ၏࢑ାЅϏ‫ܛ‬౪၍‫ࡢޠ‬ၒज‫ڑ‬Ϝഷ࣐ϜҔ‫ޠ‬ΚᆎȄ௦ ί‫ܛٿ‬፤‫ޠ‬еᆱᇅ؈‫ޠظ‬ຝძȂτ྆࢑ߒভज‫ޠڑ‬ቩዝ‫޲ܗ‬ฑᘉ‫؂‬ඳȄ ‫پ‬Ԅеᆱ௄ഞే݃‫ޠ‬ȶҥ༫ၒȷϜԥ‫ܛ‬ᡞཽȂ൸௱୞Πȶࡢၒज‫ڑ‬ȷ‫ޠ‬ ึ৥ၰӪȄᐄାЅϏ‫ޠ‬౪၍ȂеᆱᏱഞȂϛӶܼҥ༫ύЬ‫ޠ‬лᚡቺ८Ȃ ηϛӶܼᗵ໌ᗘз‫ޠ‬՘࣐ȇу௄ഞే݃‫ܛ‬ூ‫ܼ࢑ޠ‬ਣ໣ࢻโϜᄈ‫ޠٲ‬ ȂпІܼޫ໣‫۾‬৥ ȶϛңЗȷ Ȟcasualness in the temporal flow of eventsȟ Ϝȶ‫׈‬ᐍȷӵད‫ޤ‬࿌ࠊϟძȞcompleteness in the spatial extension of one’s ȇ೼ȶϛңЗȷ‫ڸ‬ȶ‫׈‬ᐍȷѠпณ࿄ӵᒋΤ࿌ࠊ‫ࡢޠ‬ field of perceptionȟ ၒज‫ڑ‬ϟϜ˕˕өՍᑀҴ‫ޠ‬ၒᖓ‫ٯ‬ӗѠُ‫ڐ‬ȶϛңЗȷȂၒᖓϟϲԚΚ Ս٘зࣩ࢑ȶ‫׈‬ᐍȷȄ࿌ໍΤࡢၒ‫ޠ‬ҐᡞȞࠊήᖓȟਣȂձ޲‫ڸ‬᠟޲൸ ཽ‫ؗ‬ጠܼ೼ঐਣ໣୅Ⴔȃ‫ޠשנ‬ГძϟϜȄеᆱ‫ܛ‬ആ൸‫ޠ‬ѫΚᆎຝძ࢑ ԄȶԱࢻЉӵѵȂύՔԥณϜȷ‫ޠ‬Κᆎзѵ‫ޠ‬ȶޫณȷȂ‫ڐ‬नࡤᄃԥդ ఁȶ‫ۭ܅‬ȷ‫ޠ‬ຬኊཏ‫ک‬ȄାЅϏࡿяеᆱп‫ܛ‬ᕋആ‫ޠ‬೼‫ٳ‬΢ҢຝძȞlife Ȃ഻ҴΠ౵ܼߒভҔۡ‫ུޠ‬ज‫ڑ‬ȇᗷࠍуτഌϸձࠣ‫ڐ‬ᄃ‫ݽ‬᠜㡱 visionȟ Щၷ༉ಜ‫ޠ‬ज‫ڑ‬ȂՅу‫ޠ‬ၒ጖ηԥϛ૗Ԛ൸ຝძ‫ޠ‬ѷంϟձȄ 37. 35. 36 37. ାЅϏЖеЊϟϟᇴȂُᔝᘅීȂ Ȯᖥᘎၒၘᆖ‫ݨ‬ȯ Ȟі‫ٶ‬Ȉ΢ҖНᏱя‫ަޏ‬Ȃ1981ȟȂ ॳ 57Ȅ “The Aesthetics of Regulated Verse”, pp361-368Ȅ “The Aesthetics of Regulated Verse”, pp368-375Ȅ.

(16) 68! ࢈τϜНᏱൣ! ಒΫ෉. Վܼ؈‫ޠظ‬ज‫࡛ࠍڑ‬ᑟܼᐤѭ‫ޠ‬ຝძ˕˕єࢃঐ΢‫ޠ‬ᐤѭȃ୾ঢ়ਣ ‫ޠ׌‬ᐤѭȂпІНϾ༉ಜ‫ޠ‬ᐤѭȄܼ؈‫ٿظ‬ᇴȂ೼ήঐቺԪ‫ޠ‬ᐤѭϛѠ ϸഹȂӓഎϲϾ࣐ঐ΢‫ޠ‬ଅᏺ‫ڸ‬དྷ჌Ȅ౿ভ‫ޠ‬ज‫ܗڑ‬пȶՍดȷ‫ޠ‬ຬኊ Ȟsymbols from natureȟ༉ሏঐ΢དញȇ؈‫ޠظ‬ज‫ࠍڑ‬пȶ‫ڏ‬ᡞ஠ӫȷ ձຬኊȞsymbols of proper namesȟ‫ٿ‬༉ႁᐤѭཏចȄᐤѭད࣐ၒ጖Ϝ ‫ޠ‬өঐຬኊΩ໕࡛Ҵᜱ߾Ȃ௄ՅӶଅᏺᇅདྷ჌ϜᄻԚΚঐᐤѭНϾ‫ޠ‬ຬ ኊзࣩȄ‫ٸ‬ାЅϏ‫ޠ‬ᘫાȂӶ؈‫ུޠظ‬ज‫ڑ‬ϜȂࡢၒ‫ॷޠ‬ήᖓ֖౫೼ঐ ϲЗ‫ޠ‬ຬኊ๗ᄻȂՅ๗‫܂܂ࠍ׏‬ᡘұя‫׺‬ΤҢ‫ޠڽ‬ዦϹ‫ڸ‬ጣԫՅҢ‫ؗޠ‬ ฯȄ೼ᐤѭད‫ܛ‬ᕋആ‫੊׊࡯ޠ‬ຬȂ൸࢑ାЅϏ‫ܛ‬ᗀ‫ޠ‬ȶԈ‫ۥ‬ຝࣩȷ Ȅ 38 ௄፤Н‫ޠ‬ឋᚡಣᙒࣽ‫ٿ‬Ȃ Ȳࡢၒ‫ޠ‬ज‫ڑ‬ȳΚН࢑ାЅϏ຀ख़Ϝഷԥ НᏱѭ‫ޠ‬ཏ‫ޠک‬Κ጖ȄӓН௄ࡢၒ‫ޠ‬ȶ঩࠯ȷȞϥّၒȟ໡ۗȂΚ‫ޣ‬ᗀ ‫ࡢژ‬ᡞ‫ޠ‬ԚዤȞߒভၒ΢ȟᇅᡑϾึ৥Ȟеᆱȃ؈‫ظ‬ȟȄดՅȂԫΚН Ᏹѭ፤ख़ஆҐα௄឵ܼାЅϏ‫ޠ‬౪፤࢝ᄻȇу࢑௄у्࡛Ҵ‫ޠ‬౪፤ᡓᒯ џึ௩ࣻᔗ‫ޠ‬ᐤѭ؆ਠȂђпၜមȄ‫ש‬উӶାЅϏ‫ޠࡤ܂‬፤ख़ϜȂηُ ‫ژ‬೼ᆎп౪፤๗ᄻ֝ાᐤѭ‫ޠ‬፤ख़РԓȄ. ϳȃ௄ज‫׶ژڑ‬௒༉ಜȈϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜ ȞΚȟή጖ࣻᜱНതȈ Ȳࡢၒ‫ޠ‬ज‫ڑ‬ȳ‫׈‬ԚпࡤȂାЅϏ‫ޠ‬ȶज‫ڑ‬ȷ፤ख़໡ۗໍΤା৬ਣ ෉Ȅ1985 Ԓ 5 УӶज୾઺ङτഎཽീ‫ޑ‬ᓣᖟ՘‫ޠ‬ȶၒਫฬή๙ȷःଇ ཽ Ȃ ା Ѕ Ϗ Ӷ ཽ α ึ ّ ଇ ፤ ȶ Ϝ ୾ ‫ ׶‬௒ ज ‫ ڑ‬ȷȞ “Chinese Lyric Ȃࡤ‫ٿ‬ቩ‫׾‬Ԛߞ጖ऽН፤НȂᇅःଇཽ‫ڐ‬уНጉӤԞΤ 1991 Aesthetics”ȟ Ԓя‫ޠޏ‬ȮНԆᇅཏຬȈϜ୾ၒᅉȃਫ‫ݳ‬ᇅᛳฬȯ ȞWords and Images: Chinese Poetry, Calligraphy, and Paintingȟ፤Н໲ϜȄ 391986 Ԓ 12 У 6 СȮΟԏᏱёȯᖟᒳ഻ёԒཽȂାЅϏึߓȲၑ፤Ϝ୾᛻೛ᆡઢȳȇН തࡤ‫ٿ‬Ӷ 1988 Ԓ 1 Уя‫ޠޏ‬ȮΟԏᏱёȯಒΡ‫ڣ‬ϜёၸȄଷΠ೼‫ڎ‬጖. 38 39. “The Aesthetics of Regulated Verse”, pp375-384Ȅ Kao Yu-kung, “Chinese Lyric Aesthetics,” Alfreda Murck and Wen C. Fong, ed., Words and Images: Chinese Poetry, Calligraphy, and Painting (New York: The Metropolitan Museum of Art, 1991), pp47-90Ȅ.

(17) ௄ࡢၒज‫ژڑ‬Ϝ୾НϾѭ‫׶ޠ‬௒༉ಜ˕˕ାЅϏȶ‫׶‬௒ज‫ڑ‬፤ȷߒ௥! 69. НതȂାЅϏᗚԥΚ጖ӓ८ଇ፤ȶ‫׶‬௒༉ಜȷ‫ޠ‬ϜН፤НȂёีӶ 2002 Ԓ 3 Уя‫ޠޏ‬ȮϜ୾Ᏹ೛ȯ Ȅ 40 ή጖НതϜ‫ޠ‬ಒΚ጖ȞऽНȟᇅಒή጖ȞϜНȟึߓਣ໣ࣻႥΫӼ ԒȂկծо࢑ӤΚНጉ‫ޠ‬ϛӤ‫ޏ‬ҐȄ ȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳΚН Ӷ๗‫׏‬ഌϸᗚණ‫ژ‬ȶၒਫฬή๙ȷ‫ޠ‬ୱᚡȂծ࢑ԟԒཽឋлᚡ‫ڴޠ‬ᔗȄ ԫѵȂӓНϸѳ࿾ȂНϜᄉᄉණ‫ژ‬೼࢑ѳԪ‫ق‬ӗᅌᗀϟᗀጉȂ࡟ԥѠ૗ ࢑ࡿ 1987 Ԓ 7 Уѯᢋఽ๽τᏱлᒳ‫ޠ‬ȶНϾȃНᏱᇅजᏱȷःଇਣ‫ܛ‬ ձϟѳԪᅌᗀȄ‫ژ‬Π 2002 ԒึߓӶȮϜ୾Ᏹ೛ȯਣȂϑ࢑ାЅϏ൸೼ ঐୱᚡࡧՄ‫ޠ‬ӼԒᑗᆺȂϲৡၷऽН‫ޏ‬ȲϜ୾‫׶‬௒ज‫ڑ‬ȳ‫؂‬ђᙵ൳Ȃկ ஆҐ࢝ᄻ‫ڸ‬፤ᘉ‫ء‬ԥ‫׾‬ᡑȄՎܼȲၑ፤Ϝ୾᛻೛ᆡઢȳࠍ௄ϛӤِ࡚ձ я၅щȂ 41ѠпΚ‫ڂ‬ଇ፤Ȅ 42 ାЅϏӶ೼ή጖፤Нഎ௵ңӤΚኻ‫ޠ‬ΡࢳዂԓȈӒпȶΚঐၷ඾ႈ ‫ޠ‬౪፤࢝ᄻȷ໡ۗȂดࡤձȶᐤѭ‫ޠܓ‬అख़ȷȄ਴ᐄȲϜ୾НϾѭϜ‫ޠ‬ ‫׶‬௒༉ಜȳ‫ޠ‬၍មȂࠊ޲ԥֆᐤѭ‫ܓ‬అख़ȶϛՎܼࢻܼМᚕᅴ࿦ȂՅ‫׌‬ ४Ӷ࢛Κঐ੬ۢНϾ‫ޠ‬ጓ൝ϜȂѷџ౪፤၍ម‫ޠ‬Ѡ૗‫ܓ‬ȷȇՅࡤ޲࣐౪ ፤࢝ᄻණ‫ٽ‬Π‫پ‬ᜍȂՅூпȶռܼޫ౶ȷȄ 43 ‫ש‬উηѠп໸㡱೼ঐԪ‫ז‬ ‫ٿ‬ᔯຝାЅϏ‫ޠ‬፤ख़Ȅ ȲϜ୾‫׶‬௒ज‫ڑ‬ȳ๊ή጖፤НȂ‫ݽ‬㡱ȲНᏱः‫ޠف‬जᏱୱᚡȳ‫ޠ‬ ࡧၰȂпȶजདစᡜȷձ࣐ȶजᏱȷ‫޲ܗ‬ȶज‫ڑ‬ȷ‫ޠ‬л्ࡧᒲጓ൝Ȅ ȶAestheticsȷ ‫ש‬উӶԫѠпӕᔯଇାЅϏᄈȶaestheticsȷΚᇮ‫ޠ‬౪၍Ȅ Ґ ဏ ࡿ ᄈ ད ۣ ‫ ڗ‬ᐮ ‫ ޠ‬Ї ᔗ Ȃ 18 з ख Κ ՞ ኉ ୾ ‫ ޠ‬ল Ᏹ ঢ় ᓰ ‫ ۔‬ђ ี ȞAlexander Baumgarten, 1714-1762ȟҔԓпԫມ‫ڽ‬ӫȶདۣစᡜ‫ޠ‬ऌ 40. 41. 42. 43. ାЅϏȂ ȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳ Ȃ ȮϜ୾Ᏹ೛ȯ Ȃಒ 3 ‫ڣ‬ಒ 3 ෉Ȟ2002 Ԓ 11 УȟȂ ॳ 212-260ȄାНԞΤȮϜ୾ज‫ڑ‬ᇅНᏱः‫ف‬፤໲ȯ‫ڸ‬Ȯज‫ڑ‬ȈϜ୾НᏱः‫ف‬፤໲ȯ ਣȂԥഌϸᒹુȇӱԫҐНЖख़ȂпёܼȮϜ୾Ᏹ೛ȯ޲࣐ᐄȄ Ґ጖঩ґԞΤѯᢋτᏱ‫ޏ‬ȮϜ୾ज‫ڑ‬ᇅНᏱः‫ف‬፤໲ȯȂі‫ٶ‬ήᖓ‫ޏ‬Ȯज‫ڑ‬ȈϜ୾Н Ᏹः‫ف‬፤໲ȯᐄȮΟԏᏱёȯ၅Τȇ೼၈‫ޠ‬Жख़ϬңȮज‫ڑ‬ȯҐȄ ή጖НതΚ૖ࣻ‫ܜ‬೏Ѡп௄‫ڐ‬२ፓኊЖ‫ޠ‬፤ᜍُ‫ژ‬Ȃ‫پ‬Ԅө጖എ෇Жңϸ‫ݚ‬লᏱঢ় ࢦ౪Θ੏୛ȞCharles Taylorȟᜱܼ΢‫ޠܓ‬ଇ፤Ȉȶуᇰ࣐΢‫ޠ‬ஆҐۢဏ࢑у൷ؒՍ‫ש‬ ၍ម‫ޠ‬ሰ्ȄȷାЅϏңпᇴ݃ȶစᡜϟԚ࣐ՍࣹȂҐٙ൸ԥାΚቺ‫ޠ‬ཏဏȄԫᆎ စᡜӶᄃ౫Ң‫ڽ‬ཏဏਣȂѠпᇴ‫ױ‬जདழໍΠΚঐ઎Ҕᐃ΢З‫ޠۿ‬ቺԪȄ೼ਣजད ᄃᇅ઎౪ȃၿ኉ᒋ࣐ΚᡞȄȷ Ȃॳ 220Ȅέ୥“Chinese Lyric Aesthetics”, p52ȃ Ȳၑ፤Ϝ ୾᛻೛ᆡઢȳȂॳ 162Ȅ ȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳȂॳ 212Ȅ.

(18) 70! ࢈τϜНᏱൣ! ಒΫ෉. Ᏹȷ Ȃη൸࢑౫х‫ܛ‬౪၍‫ޠ‬ȶजᏱȷ‫ޠ‬໡ᆓȄՍஷ኉пᗚȂ ȶजདစᡜȷ Ȟaesthetic experienceȟϑ࢑༉ಜȶजᏱȷ‫ޠ‬ϜЗᕘ࿾ȄାЅϏӶȲϜ ୾‫׶‬௒ज‫ڑ‬ȳϜηᇴȈ ȶ௄Щၷ༉ಜ‫ޠ‬ཏဏ‫ٿ‬ᇴȂजᏱȞaestheticsȟࡿ Ӷ౪፤࢝ᄻί௄‫ٲ‬जདစᡜ‫ޠ‬ः‫ف‬Ȅȷ44ӶȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳ ΚНϜȂуέᇴȈ ȶ՚ࢸजᏱȞaestheticsȟΚມ೾ளណձजᏱȂ࢑ձ࣐ লᏱϜ‫ޠ‬ΚߟȂկԫມѫΚң‫ݳ‬ளңпࡿΚঐ഻ձ޲ࣦՎ‫ݡ‬፭޲ᄈ഻ ձȃ᛻೛ȃजпІ‫ݡ‬፭‫ݳࣽޠ‬Ȃࢉᄃ࿌ណձȺ഻ձ፤Ȼ‫ܗ‬Ⱥቸज፤Ȼ Ȃ Ѡпᙐӫϟ࣐Ⱥज፤Ȼ‫ܗ‬ȺजᢏȻȄȷ 45௦㡱Ȃу൸‫ܛױ‬ᗀ‫ޠ‬ȶࣽ‫ݳ‬ȷ ђпЖҨȈ ‫ࠍש‬ᇰ࣐೼৉౪፤ӶНϾѭϜ‫ם܂܂‬ԚΚ৉᛻೛‫ڑޠ‬ԓጓ ᛠȂӱϟᆏϟ࣐ȶज‫ڑ‬ȷȄη֊࢑‫ܜ‬ᇰѻϛ༊࢑Κঐঐ΢ᄈ ज‫ޠ‬ᑀ੬ࣽ‫ݳ‬ȂՅ࢑ԥཏณཏӵᅌᡑ࣐Κ৉Ѡп༉ႁ‫ޠ‬ᢏ ‫܉‬ȌȌȂѠп࢑ณཏӵចᙡӶձࠣҐٙȂՅစҦᄈձࠣ‫ݡޠ‬ ፭Յ༉ክȄՅ‫ש‬উ‫ޠ‬ଇ፤Ҕ࢑൩ஆܼ೼ᆎࡋᢏ‫ޠ‬౫ຬϟαȂ ໍՅ௱དྷ᛻೛ঢ়лᢏ‫ޠ‬഻ആႇโȄ 46 ‫ٲ‬ᄃαȂାЅϏᄈȶaestheticsȷձя೼ኻ‫ޠ‬ၜមȂഷմ४࡚ԥ‫ڎ‬ঐР८ অூ‫ݨ‬ཏȈ Κȃу२ຝजདစᡜ‫ޠ‬ः‫ف‬ȂՅ೼စᡜέп഻ձ޲Ȟ᛻೛ঢ়ȟ‫ޠ‬ȶ഻ ആႇโȷ‫ܛ‬ਗ਼޲࣐਴Ґȇ‫ݡ‬፭޲‫ޠ‬ձң‫ݡڸ‬፭ႇโࣻᄈ࢑Ԫ् ‫ޠ‬Ȃл्࢑ଢ྘‫ڸ‬Ӡᜍ഻ձႇโ‫ޠ‬जདစᡜȄ Ρȃу‫ޠ‬ȶज‫ڑ‬ȷ౟ਗ਼‫ژ‬ȶ༉‫ܜ‬ȷ‫ڸ‬ȶ‫ڑ‬ጓȷ‫ޠ‬ཏᜌȂη൸ழ୞Π ົ຺ঐ΢‫ޠ‬໲ᡞ‫ڸ‬ᐤਣቺ८‫ࡧޠ‬ኍȇାЅϏҦԫໍΤНϾѭ‫ޠ‬ ፤ख़Ȃࣽ‫ٿ‬η൸ՍดՅดΠȄ ดՅȂࣽծ໸ࢻՅί‫ޠ‬፤ख़नࡤ‫ڐ‬ᄃԥࣻ࿌Ӽ‫ޠ‬ԣ‫׸‬ȄҔԄαНһ хȂାЅϏ‫ࡧޠ‬Մዂԓ‫ڸ‬፤ख़Ϗ‫ڏ‬л्ூՍуഷዤோ‫ޠ‬ऽजϸ‫ݚ‬লᏱȇ ‫ڐ‬जᏱ‫ޠ‬౪፤ၦྜη࢑ӤΚРӪȄ೼ᆎȶϸ‫ݚ‬जᏱȷ Ȟanalytic aestheticsȟ ‫ࡧޠ‬ዙȂᗀؒ྆‫݃ޠ܉‬ጃ‫ڸ‬ᇮّ‫ఽޠ‬඿ȇᇰ࣐༉ಜ‫ޠ‬जᏱ፤ख़щҍ㡱֥. 44. “Chinese Lyric Aesthetics,” p48Ȅ ȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳȂॳ 213Ȅ 46 ȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳȂॳ 213Ȅέ୥ȲϜ୾ϟᔜԣज‫ڑ‬ȳȂॳ 306ȇȲϜ୾ᔜԣ ज‫ߒڑ‬፤˕˕চፚ஫ԣȳȂॳ 326Ȅ 45.

(19) ௄ࡢၒज‫ژڑ‬Ϝ୾НϾѭ‫׶ޠ‬௒༉ಜ˕˕ାЅϏȶ‫׶‬௒ज‫ڑ‬፤ȷߒ௥! 71. ጚϛఽ‫܉྆ޠ‬Ȃԥस‫ݰݬ‬ែᐪȄ ȶजདစᡜȷη൸࢑‫ڐ‬Ϝ‫ޠ‬τ༶‫ݬ‬ყȄ τഌϸȶϸ‫ݚ‬जᏱঢ়ȷᄈ೼ঐ፤ᚡഎܳ㡱ᛅᅹ‫ޠ‬ᄙ࡚Ȃέ‫޲ܗ‬౲ՅϛණȄ ାЅϏȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳ൸ᇴȈ ȶ৽ܑजདစᡜϑစೞτঢ় ‫܈‬ຝΠංΫԒȷȇ 47 уέӶȲϜ୾‫׶‬௒ज‫ڑ‬ȳЖख़у‫ޠڄིܛ‬ϸ‫ݚ‬जᏱ ঢ়ලջ‫ܝ‬ႴȞRoger ScrutonȂ1944-ȟ‫ၘޠ‬Ȉ Ӷ‫ٿࣽש‬Ȃ࿌хϸ‫ݚ‬जᏱႇ࡚ᜱ‫ݨ‬᛻೛‫ޠ‬፵‫ܓ‬Ȟthe nature of artȟୱᚡȂՅ‫܈‬౲Πஷ኉‫ܛ‬ᜱЗ‫ޠ‬ȃ‫؂‬ஆҐ‫ޠ‬ୱᚡ˕˕ቸज ፹‫ޠک‬፵‫ܓ‬ᇅቌঅୱᚡȞthe nature and value of aesthetic interestȟȄ 48 ାЅϏ௦㡱၍មȂලЫ‫ܛ‬ᗀ‫ޠ‬ȶቸज፹‫ک‬ȷ֊࢑у्२ᘉଇ፤‫ޠ‬ȶजད စᡜȷȄ‫ٲ‬ᄃαȂାЅϏ‫ڸ‬ලջ‫ܝ‬ႴΚኻȂ्Ӷ‫ݚ‬जᏱ‫ޠ‬ᇮძϲ२ུᔯ ຝංೞతဋ‫ޠ‬лᡞȶစᡜȷ‫ޠ‬ୱᚡȄ 49 ѫΚР८Ȃϸ‫ݚ‬जᏱॷ२྆‫ڸ܉‬ᇮّ‫ޠ‬ᚅఽȂ㡱ཏ‫ױ‬ୱᚡܷ၍Ԛஆ Ґ൑ϰȂп௥ୱ‫ڐ‬ഷ਴Ґ‫ޠ‬ಣӬᡓᒯ‫ࣁܗ‬୞ዂԓȂ‫ڐ‬ȶ‫ٯ‬ਣȷ Ȟ synchronicȟ ‫ڸ‬ȶߩᐤѭȷ Ȟahistoricalȟ་ӪԚ࣐ࡧՄ‫ޠ‬лᏳȇ֊‫ٻ‬ଇ፤᛻೛ѭਣȂ ηཽпϲഌึ৥Ȟinternal developmentȟ࣐ฑᘉȂ஁ࡼ‫ڐ‬ᑀҴՍл‫ޠ‬ Ȟautonomousȟӵ՞ȇ 50ӱԫȂ೼Κࣃ‫ޠ‬जᏱঢ়೾ளϛ᜺ཏ೏౪᛻೛‫ޠ‬ ަཽ‫ڸ‬НϾनෂୱᚡȄ51‫ש‬উ҇໹౪၍ऽजϸ‫ݚ‬जᏱ‫ޠ‬ஆҐ‫ڦ‬ӪȂดࡤ ӕᔯଇାЅϏԄեпϸ‫ݚ‬जᏱ࣐ஆᙄ໡৥у‫ޠ‬ȶज‫ڑ‬ȷ፤ȂϘ૗‫ڔ౐؂‬ ‫ޠ‬ᡞཽ‫ڦڐ‬৸‫ޠ‬ᖠᜳ‫ڸ‬ңЗϟशȄ 47 48. 49. 50. 51. ȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳȂॳ 214Ȅ “Chinese Lyric Aesthetics,” p49ȄέାЅϏӶȲϜ୾ᇮّНԆᄈၒᅉ‫ޠ‬ኈ៫ȳᇴȈȶල Ы࢑ߗԒ՚ࢸजᏱঢ়Ϝ‫ܛש‬෤݉‫ޠ‬Κ՞Ȃу‫ޠ‬Ȯ᛻೛ᇅདྷ჌ȯ Ȟ1974ȟ‫ڸ‬Ȯजདᇰᜌȯ Ȟ1983ȟഎ࢑ϛѠӼூ‫ޠ‬ԂਫȄȷُॳ 211Ȅ ԥᜱϸ‫ݚ‬जᏱϜ‫ޠ‬जདစᡜः‫ف‬ȂѠ୥Մ Richard Shusterman, “The End of Aesthetic Experience,” The Journal of Aesthetics and Art Criticism, 55.1 (1997),p29-41Ȅ Ԅලջ‫ܝ‬Ⴔ൸஁ࡼ᛻೛ѭ‫ޠ‬ՍлȈ“[T]he discipline of art history… has the kind of autonomy constitutive of a genuine independent subject.” Roger Scruton, Aesthetic Understanding, p. 167. ӶାЅϏኦቹȲϜ୾‫׶‬௒ज‫ڑ‬ȳІȲϜ୾᛻೛ᆡઢȳਣ෉Ȃԥᜱऽजϸ‫ݚ‬जᏱ༉ಜ ‫ึޠ‬৥ᡑϾѠ୥ Richard Shusterman, “Analytic Aesthetics: Retrospect and Prospect,” The Journal of Aesthetics and Art Criticism, 46.3 (1988.3): 115-124ȇНϜࡿяΠ࿌ਣϸ ‫ݚ‬जᏱ‫ޠ‬ȶߩᐤѭȷ་ӪȄԥᜱԫΚजᏱࡧዙ‫ڻ؂‬ӓ‫ޠ‬ᐤѭఅख़Ѡп୥Մ George Dickie, Introduction to Aesthetics: An Analytic Approach (Oxford: Oxford UP, 1997)Ȅ.

(20) 72! ࢈τϜНᏱൣ! ಒΫ෉. ௵ңΠϸ‫ݚ‬লᏱ‫ޠ‬ΤКߟ৸ȂାЅϏпȶࣁ୞౪፤ȷȞtheory of actionȟ‫ڸ‬ᇮّ౪፤Ȟtheory of languageȟ໡৥у‫ޠ‬፤ख़ȄӶȲНᏱः‫ف‬ ‫ޠ‬जᏱୱᚡȳϜу‫ױ‬ȶစᡜȷຝձࣁ୞‫ޠ‬ȶϲӶҭ‫ޠ‬ȷȂձ࣐ᄃ౫ѵӶ ‫ޠ‬ҭ‫ޠ‬КࢳȂӱԫη࢑ȶࣁ୞‫ޠ‬ΚᕘȷȄ 52 ӶȲϜ୾‫׶‬௒ज‫ڑ‬ȳϜାЅ Ϗ ࠍ ණ я ‫ ש‬উ ᄈ ΢ ᜹ ՘ ࣐ Ѡ п ԥ ϛ Ӥ ‫ ޠ‬ၜ ម ᄙ ࡚ Ȟ different philosophical interpretations of the human act ȟȈ Ѡ п ࢑ ȶ ᚕ З ‫ޠ‬ ȞcentrifugalȟၜមȷȂηѠп࢑ȶӪЗ‫ޠ‬ȞcentripetalȟၜមȷȄȶᚕЗ ‫ޠ‬ȷࣁ୞౪፤ཽ੽ཏ՘୞‫ޠ‬ѵӶҭ‫ڸޠ‬ᜱഀȂ‫ױ‬՘୞ဋܼܺ‫؂‬τ‫ޠ‬૖๝ ϟϜȇȶӪЗ‫ޠ‬ȷࣁ୞౪፤ࠔ஠‫ݨ‬ϲӶစᡜȞinner experienceȟԄեԚ ࣐ࡧདྷ՘࣐‫ޠ‬Ӽঐቺ८‫ڸ‬ӼᆎࢻӪ‫༙ޠ‬ᆺȂ‫ٯ‬пစᡜ‫ޠ‬ႇโ࣐ΚՍл‫ڸ‬ Ս٘‫ޠ‬՘࣐‫ޒܗ‬ᄙȄାЅϏӒࣩۢ΢᜹՘࣐єࢃѵӪ‫ڸ‬ϲӪഌϸȂӕ‫ױ‬ ᄈ೼‫ڎ‬ঐϛӤ‫ޠ‬РӪ‫ޠ‬፤ख़౪၍࣐ϛӤ‫ޠ‬ၜមᄙ࡚ȂໍՅ‫ױ‬೼ϛӤᄙ࡚ ᘫ๗࣐ϛӤ‫ޠ‬НϾ‫ڦ‬Ӫȇܼ࢑Ȃೞຝ࣐ȶ२౫ᄃȷ Ȟreality-orientedȟ‫ޠ‬ ȶ՚Р༉ಜȷȂཽ་Ӫ௦‫ڨ‬ȶᚕЗȷၜមȇՅȶϜ୾༉ಜНϾȷࠍߓ౫ ࣐ȶӪЗȷᜱϹȄ 53 пȶӪЗ‫ޠ‬ȷၜមҴ፤ȂାЅϏӕ၍‫ݚ‬ȶစᡜȷ‫ޠ‬ήঐ໧ࢳȈΚȃ ȇΡȃЇࣹ՘࣐Ȟact of reflectionȟ ȇήȃ ཏᜌ՘࣐Ȟact of consciousnessȟ Ȅ‫ڐ‬ϜȶЇࣹ՘࣐ȷ࢑Κᆎ஡ȶϲ Їࣹ‫ޠ‬ЇࣹȞreflection of reflectionȟ Ȃ ѵȷ‫ڸ‬ȶႇџȃ౫Ӷȷ‫ޠ‬ӠຬᐍӬ‫ޠ‬ЗΩȞintegrative mental forceȟ ՅȶЇࣹ‫ޠ‬Їࣹȷࠍ࢑ᆤឹӓ‫׌‬пߴԇܼଅᏺϟϜȂп࣐ȶӕစᡜȷϟ ၦȄӕඳΚِ࡚ࣽȂ ȶစᡜȷ࢑Ѡញ‫ߓޠޤ‬८ᇅ዗ᙡ‫ޠ‬ϲϜ‫ޠ‬Ϥ୞Ȃη Ȟexpressionȟϟ໣‫ޠ‬ϜϮȄାЅ ࢑௄ȶӠຬȷ Ȟimpressionȟ‫ژ‬ȶߓ౫ȷ ȂҔ࢑ȶ‫׶‬௒ज Ϗᇰ࣐೼ঐϲϾ‫ࣁޠ‬୞ႇโȞprocess of internalizationȟ Ᏹȷ‫ޠ‬ઢᡝȄ 54 Վܼᇮّ౪፤Р८ȂାЅϏଇ፤Πᇮّ‫ޠ‬ȶхߓѓ૗ȷ Ȟpresentational functionȟ ȇ55 Ȟrepresentational functionȟ‫ڸ‬ȶᡞ౫ѓ૗ȷ 52 53 54 55. ୥ȲНᏱः‫ޠف‬जᏱୱᚡȞαȟȳȂॳ 24Ȅ “Chinese Lyric Aesthetics” ,p50Ȅ “Chinese Lyric Aesthetics” ,p50-51Ȅ ାЅϏȲНᏱः‫ޠف‬जᏱୱᚡȞίȟȳ‫ױ‬ȶrepresentationalȷІȶpresentationalȷϸր ណձȶхߓȷ‫ڸ‬ȶᡞ౫ȷ Ȃॳ 45Ȃᇅ౫ϭНᏱः‫ޠف‬೾ளណ‫ݳ‬ϛӤȇկାЅϏ‫ޠ‬ᙛណ ‫ޣ‬௦Ї࢏уᄈ೼‫ޠ܉྆ٳ‬౪၍Ȃᇅу‫ޠ‬፤ख़έԥஞϹ‫ޠ‬ᜱ߾ȂࢉҐН‫ޠ‬ଇ፤η௵ң Πу‫ޠ‬ណ‫ݳ‬Ȅ.

(21) ௄ࡢၒज‫ژڑ‬Ϝ୾НϾѭ‫׶ޠ‬௒༉ಜ˕˕ାЅϏȶ‫׶‬௒ज‫ڑ‬፤ȷߒ௥! 73. п࣐ᇮّ‫ޠ‬ȶхߓѓ૗ȷ‫ޠ‬ጃЩၷ݃ᡘȂ‫ڐ‬ȶᡞ౫ѓ૗ȷϛα‫ڐ‬у᛻೛ ൭ᡞૢ֊‫ڔ‬ᇅ‫ޣ‬௦Ȃկ‫ڐ‬ᖑॲІѠࡼεԇӶ‫ޠ‬შຬȂηԥ‫ڐ‬ਞңȂϛᔗ ೞ‫܈‬౲Ȅуࡿя՚РᇮّᏱঢ়Щၷ୒२ᇮّ‫ޠ‬хߓѓ૗Ȃ२ຝᇮّ‫ޠ‬һ ርձңȞcommunicationȟȄାЅϏп࣐೼࢑ӱ࣐уউ‫ޠ‬ᢏᄇᄈຬ࢑π ᇮȂп࣐ਫ८НԆѬ࢑πᇮ‫ޠ‬खᓄȄуࡿяਫቹ‫ޠ‬ᇮّ‫ޠ‬਴Ґѓ૗࢑ߴ ԇ˕˕єࢃϵӔ‫ٲ‬ଡ଼‫ޠ‬खᓄ‫ڸ‬ঐ΢‫ޠשؾ‬ଅᏺȄឌԄቹၒȂ‫ڿ‬Ѡп༉௒ ႁཏȂկηѠп࢑࣐Πঐ΢‫ޠ‬ϲࣹȂпΠ၍౫Ӷ‫ڸ‬२ࢄႇџȄਫ८ᇮّ ϟົ຺ਣ໣‫ޠ‬૗ΩҔԂϹӬ٦Їࣹ‫ڸ‬Ӳᏺ‫्ؒޠ‬ȄԫѵȂାЅϏέ‫ݨ‬ཏ Ȟintensionȟ ‫ژ‬ᇮّ‫ޠ‬ȶхߓȷѓ૗έєࢃȶѵࡿȷ Ȟextensionȟ‫ڸ‬ȶϲోȷ ‫ڎ‬ᆎཏဏȈ 56ࠊ޲‫ڴ‬ᔗΠȶᚕЗȷ‫ޠ‬ၜមȂձ‫ڏ‬ᡞ‫ࡿޠ‬ਗ਼Ȃԥֆһࢻȇ ࡤ޲ࡿӪȶӪЗȷ‫ޠ‬ၜមȂ་ӪЇࣹᇅདྷ჌ȂཏဏҦ࢑‫ڔ౐؂‬ᖆ൳Ȅ57 ାЅϏέᇰ࣐ມᇮ‫ޠ‬ȶϲోȷဏ‫ٻ‬ಓဵᙾϾԚຬኊȂ಴ᚕ‫ڏ‬ᡞࡿਗ਼Յࡿ Ӫ‫ܫ‬ຬ‫ޠ‬ȶ‫ܓ‬፵ȃҐ‫ܓ‬ȷȞqualitiesȟȇ೼ኻΚ‫ٿ‬Ȃ൸ᇅ‫ڐ‬уຝញ᛻೛І ᠚ញ᛻೛‫ޠ‬൭ϮᏳӪȶ‫ܓ‬፵ȃҐ‫ܓ‬ȷ‫ޠ‬௒‫ࣻݸ‬ӤȄାЅϏ೼ঐРӪ‫ࡧޠ‬ ՄȂߵ‫ٻ‬уঔҔΠҴ঩Ӓ‫ܛ‬ҴпȶϲϾȷ ȞinternalizationȟІȶ‫ם‬ԓϾȷ Ȟformali-zationȟձ࣐‫׶‬௒ज‫ޠڑ‬ஆҐ঩౪‫ޠ‬ᗀ‫ݳ‬Ȃ‫࣐׾‬ȶϲϾȷІȶຬ ཏȷȞsymbolizationȟȄȶ‫ם‬ԓϾȷᡑԚȶຬཏȷߓұାЅϏ‫؂‬ђ२ຝҦ ಓဵ‫ם‬ԓϾҢᙵ൳‫ޠ‬ϲోཏဏ‫ޠ‬ႇโȂηԥֆуҨ፤ȶ‫׶‬௒ज‫ڑ‬ȷԄե ᡞ౫΢Ңཏဏ‫ڸ‬НϾ౪དྷȄ58೼࢑ାЅϏ௄НᏱ፤ख़ᘘ৥࣐᛻೛ࣦՎН Ͼ༉ಜࡧՄ‫ޠ‬२्яึᘉȄ αख़ᄈ΢᜹՘‫ڸ‬ᇮّ‫ޠ‬ϸ‫ݚ‬Ȃഎ౟ਗ਼‫ژ‬ᢏᄇ‫ڸ‬ၜមᄙ࡚‫ޠ‬ୱᚡȂӶ ାЅϏ‫ޠ‬ᒲ‫ݚ‬ϜȂ࡟ৡܿ൸я౫ΠᄈҴΡϸȂ 59௄ՅЖΤȶ‫׶‬௒ज‫ڑ‬ȷ 56. 57. 58 59. “Chinese Lyric Aesthetics”,p55ȇ ȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳ Ȃॳ 225Ȅ ȶѵࡿȷᇅȶϲ ోȷ‫ޠ‬ណ‫ݳ‬η࢑пାЅϏ‫ܛ‬ңណມ࣐ᐄȄ ଷΠ࿌ࠊଇ፤‫ޠ‬ή጖፤НпѵȂାЅϏ‫؂‬ԥ஠НȲϜ୾ᇮّНԆᄈၒᅉ‫ޠ‬ኈ៫ȳ Ȟ1989ȟଇ፤Ϝ୾‫ޠ‬ȶНԆᇮّȷ‫ܛ‬ആԚ‫ޠ‬ϲࣹȃདྷ჌‫ڸ‬ϲӶ၍ម‫࢝ޠ‬ᄻȂ‫ڐ‬ᜱ‫ݨ‬ ᘉηӶܼȶ‫׶‬௒ज‫ڑ‬ȷ‫ޠ‬ᄻԚȇُȮज‫ڑ‬ȯ Ȃॳ 179-216ȄࠊԫуӒԥ፤Н“Approaches to Chinese Poetic Language”‫ܜ‬௦у‫ڸ‬ధડᡤӶভၒः‫ޠف‬፤ُȂᄈϜ୾НԆ‫ڸ‬ᇮّ‫ޠ‬ ၒᅉѓ૗пՎ‫ם‬Ԛȶ‫׶‬௒ज‫ڑ‬ȷ‫ޠ‬ձңȂ໡৥ΠӤΚРӪ‫ޠ‬౪፤௥સȄ“Approaches to Chinese Poetic Language,” Proceedings of the International Conference on Sinology: Section on Literature (Taipei: Academia Sinica, 1981), pp423-453Ȅ “Chinese Lyric Aesthetics”,p55-57ȇȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳȂॳ 215ȃ225Ȅ ାЅϏ෇ࡿяȶज‫ڑ‬ȷۧԥ‫ڐ‬у᜹րȇُ“Chinese Lyric Aesthetics” ,p49ȇȲϜ୾НϾ.

(22) 74! ࢈τϜНᏱൣ! ಒΫ෉. Ȟ‫ܗ‬ᆏȶϲӪज‫ڑ‬ȷ ȟ‫ڸ‬ȶఅख़ज‫ڑ‬ȷ Ȟ‫ܗ‬ᆏȶѵӪज‫ڑ‬ȷ ȃ ȶᄻຬज‫ڑ‬ȷ ȟ ‫ޠ‬ЩၷᄈྲȄή጖НതϜԥτ໕‫ޠ‬጖ൾ࢑೼ᆎᄈྲ‫ޠ‬Ҩ፤Ȅ‫ש‬উเђᐍ ౪ԄίȈ ‫׶‬௒ज‫ڑ‬. అख़ज‫ڑ‬. ϲӪ. ѵӪ. Ȟintroversive, centripetalȟ. Ȟextroversive, centrifugalȟ. ᄈຬ. ഻ձႇโɯजདစᡜ. ഻ആ‫ޠ‬Ԛࠣɯ᛻೛ࠣ. ҭ‫ޠ‬. ߴԇȶՍ‫ש‬ȷ ȶ౫ਣȷ‫ޠ‬စᡜ һࢻ. Р‫ݳ‬. ȞdisplayȟՅಥ ௄ȶϲϾȷ Ȟinternalizationȟ ܼۗȶѵ౫ȷ. ‫ܓ‬፵. ‫ژ‬ȶຬཏȷ Ȟsymbolizationȟ ܼȶхߓȷ Ȟrepresentationȟ ഻ձ౪དྷ. ༉ઢ. Ԅ઎. ձࠣ‫ߓޠ‬౫ Ҧȶ๗ᄻȷഇႇȶຬཏȷႁ ҦȶᄈҴȷȃȶፑऐȷ‫ژ‬ȶົ यញਃ΢Ңཏဏ‫ޠ‬ȶძࣩȷ ຺ᄈҴȷ ȃ ȶϾ၍ፑऐȷ ᠟޲२ᘉ. २ུစᡜ঩ۗ‫ޠ‬഻ആႇโ. ၜមႇโ. ‫ݡ‬፭ྦࠍ. ձ޲‫ޠ‬जདစᡜ. ձࠣ‫ࡋޠ‬ᢏ၍ម. ౪፤ϸ᜹. ഻ձ፤ʝजᏱȞaestheticsȟ ၜម፤ʝ᛻೛፤Ȟtheory of artȟ. ାЅϏӶ፤‫ݚ‬೼‫ڎ‬ᆎȶज‫ڑ‬ȷਣȂྲ౪ѠпϛϸାίՅ༊ᇴ݃‫ࣻڐ‬ ౵ϟ೏ȇկу݃ᡘԥ‫୒ܛ‬२Ȅ‫ٲ‬ᄃαȂᐄାЅϏ‫ۢޠ‬ဏȂ ȶज‫ڑ‬ȷΚມ Ґ൸ȶ㡱ಂ഻ܼձ޲‫ޠ‬З౪‫ޒ‬ᄙ‫ࣁڸ‬୞пІу‫ܛ‬ၽң൭Ϯ‫ޠ‬Рԓ‫ڸ‬ҭ ‫ޠ‬ȷ Ȃ࢑ӱᔗуЗϜ‫ޠ‬ȶ‫׶‬௒ज‫ڑ‬ȷՅҴί‫ޠ‬ȇ्஡२ᘉӶܼȶ᛻೛ࠣȷ Іȶ‫ݡ‬፭޲ȷ‫ޠ‬ȶఅख़༉ಜȷৡા‫ژ‬೼ঐ፤ख़࢝ᄻȂЇՅԥሰ्ձя። ᐍȄ 60ȄӱԫȂҔԄȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳᇴȈ ‫ש‬஡ཽଇ፤सϔпα‫׶‬௒ज‫ڑ‬ஆᙄՅ౱Ң‫ޠ‬ಡ࿾ȄՎܼఅ‫ٲ‬ज ‫ڑ‬Ѭཽձ࣐ᄈྲՅୌดණІȄၐಡ‫ޠ‬ଇ፤Ѭ૗੽ࡠ஡‫ٿ‬ΠȄ61. 60 61. ѭϜ‫׶ޠ‬௒༉ಜȳȂॳ 215Ȅ Ȳၑ፤Ϝ୾᛻೛ᆡઢȳȂॳ 143-144Ȅ ȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳ Ȃॳ 215ȄାЅϏᇴ஡‫ٿ‬ӕ፤ȶఅ‫ٲ‬ज‫ڑ‬ȷ Ȃկ೼ঐᒜّ‫ڐ‬ ᄃ‫ءٯ‬ԥҔԓᄃ፻ȇାЅϏ‫ޠ‬ഌϸདྷ‫ݳ‬Ȃτ྆ѠӶଇ፤ȶᔜԣज‫ڑ‬ȷ‫ޠ‬ං጖Нതُ‫ژ‬Ȅ.

(23) ௄ࡢၒज‫ژڑ‬Ϝ୾НϾѭ‫׶ޠ‬௒༉ಜ˕˕ାЅϏȶ‫׶‬௒ज‫ڑ‬፤ȷߒ௥! 75. ାЅϏ೼ঐᄙ࡚Ӷή጖፤Нഎ࢑Κೲ‫ޠ‬ȇ ȶఅख़ज‫ڑ‬ȷӶу‫ޠ‬፤ख़՞ဋ ‫ޠ‬२्‫ܓ‬ሊሊЩϛαȶ‫׶‬௒ज‫ڑ‬ȷȄᗷดуߓ्݃Ӷȶၷ඾ႈ‫ޠ‬౪፤࢝ ᄻȷίᗀȶज‫ڑ‬ȷୱᚡȂ62կу‫ڔ‬ཏңΩ‫ޠ‬ӵР࢑ȶϲӪȷ ȃ ȶϲϾȷ ȃ ȶЇ ࣹȷ ȃ ȶϲోȷ ȃ ȶຬཏȷ๊ᇅу‫ޠࣩۢܛ‬ȶ‫׶‬௒ज‫ڑ‬ȷ‫ޣ‬௦ࣻᜱ‫ޠ‬ጓᛠȄ ЩРᇴȂϸ‫ݚ‬जᏱηԥଇ፤ȶजདစᡜȷȂାЅϏϟՄ‫ݚ‬ȶད‫ܓ‬ȷȃ ȶ๗ ᄻȷ ȃ ȶຬኊȷ๊Ȃഎ࢑ϸ‫ݚ‬जᏱ‫ޠ‬౪፤Ϗ‫ڏ‬ȇկҔԄାЅϏ‫ܛ‬ᇴȂуউ ࢑ȶ௄ձࠣᗀजདȷ Ȃ63ՅାЅϏࠔᆺฑ഻ܼձ‫ޠ‬စᡜȂ‫ڦ‬৸݃ᡘϛӤȄ ೼൸࢑ᇴȂуᔗңΠу‫ܛ‬ජඬ‫ޠ‬՚Р౪፤ւᏣȂџ໡ึ՚Р౪፤‫܈ܛ‬౲ ‫ޠ‬ስ஀ȄໍΚؐՅّȂуಡཏ‫ݚ‬፤‫ޠ‬ȶ‫׶‬௒ज‫ڑ‬ȷȂᄃӶ࢑՚РНϾ༉ ಜґІึඵ‫ޠ‬ഌϸȄ‫پ‬ԄȂу‫ݨ‬ཏ‫ژ‬Ӷ՚Р༉ಜϜηԥ२ຝ᛻೛‫ޠ‬ȶϲ Ͼȷ‫ڸ‬ȶϲຬȷ‫ޠ‬౪፤ঢ়ԄջᛴቇȂดՅȈ Ȟջᛴቇ‫ޠ‬Ᏹᇴȟॼ‫ڨ‬՚ࢸजᏱ‫׿ޠ‬ᔟȄȌȌу‫ࡧޠ‬དྷ࢑ߩ ள௦ߗ‫׶‬௒ज‫ޠڑ‬ȂӶпఅख़‫ޠܓ‬ϊᇴᔜቒ࣐᛻೛Ϝࢻઘ࢙ ‫ޠ‬зࣩϜՍᜳпҴ٘Ȅ 64 ାЅϏّίϟཏ࢑Ȉӱ࣐ջᛴቇ‫ޠ‬፤ᇴ௦ߗȶϜ୾‫ޠ‬ȷ‫׶‬௒ज‫ڑ‬Ȃ‫ܛ‬п уӶпఅख़‫ܓ‬НᏱ࣐л‫ޠ‬ȶ՚Рȷзࣩ‫ܪڨ‬ᔟȄҦԫѠُу࢑ԥཏᜌӵ ௄НϾ༉ಜ‫ِ࡚ޠ‬џ၍ᇴȶज‫ڑ‬ȷ Ȅ Ȳၑ፤Ϝ୾᛻೛ᆡઢȳΚН൸ᇴȈ ΚّпጷϟȂϜ୾᛻೛ᆡઢ࢑Ӷ‫׶‬௒ज‫ڑ‬ϜᡘұȄ 65 ȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳηᇴȈ ᗀ‫׶‬௒༉ಜη൸࢑௥સӶϜ୾НϾȞՎЎӶ᛻೛ስ஀ȟϜȂ ΚঐϲӪ‫ޠ‬Ȟintroversiveȟቌঅ፤Іज‫ڑ‬Ԅեп๙ᄈᓻ༗ᔇ ঈΠѵӪ‫ޠ‬Ȟextroversiveȟज‫ڑ‬ȂՅᅥഇ‫ޠཽަژ‬ө໧ቺȄ66 62 63. 64 65 66. ȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳȂॳ 212Ȅ ȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳ Ȃॳ 218ȇ୥ُ Richard Shusterman, “The End of Aesthetic Experience”; Diané Collinson, “Aesthetic Experience,” in Oswald Hanfling ed., Philosophical Aesthetics: An Introduction (Oxford: Blackwell, 1992), pp. 117-178; Nelson Goodman, “The Activitiy of Aesthetic Experience,” in John W. Bender and H. Gene Blocker eds., Contemporary Philosophy of Art: Readings in Analytic Aesthetics (Englewood Cliffs, NJ: Prentice Hall, 1993), pp 396-401Ȅ Ȳၑ፤Ϝ୾᛻೛ᆡઢȳȂॳ 155Ȅ Ȳၑ፤Ϝ୾᛻೛ᆡઢȳȂॳ 151Ȅ ȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳȂॳ 217Ȅ.

(24) 76! ࢈τϜНᏱൣ! ಒΫ෉. ௄ȶНϾ༉ಜȷ‫ِ࡚ޠ‬ᢏᄇ౫ຬȂ‫ڐ‬ఃұ൸࢑઎౪ϛЦܼΚᆎȇඳ ّϟȂϛӤ‫ޠ‬༉ಜѠпԥϛӤ‫ޠ‬ҴൠȂᄈ‫ޑٲ‬ԥϛӤ‫ޠ‬ၜមȄαНϑစ ණ‫ژ‬ȂାЅϏԥཏӶ೼Κ‫ق‬ӗ‫ޠ‬ή጖፤Н‫ױ‬೩Ӽ፤ᚡ‫ޠ‬ஆᙄϾ၍࣐ϛӤ ‫ޠ‬ȶၜមȷȂឌԄȲϜ୾‫׶‬௒ज‫ڑ‬ȳᄈȶ΢᜹՘࣐ȷϸ‫ݚ‬ഌϸȂ൸ᚡձ ȄӕԄȲၑ፤Ϝ୾ Ȳ΢᜹՘࣐‫ޠ‬ၜមȳ ȞInterpretation of the Human Actȟ ᛻೛ᆡઢȳΚНȂ‫؂‬ᖑ݃ȶज‫ڑ‬ȷ࢑Κঐȶ߭‫܉‬ȷ‫ޠ‬ୱᚡȄ 67ȲϜ୾Н ϾѭϜ‫׶ޠ‬௒༉ಜȳέࡿяȶ‫׶‬௒༉ಜȷȶᡞ౫Π‫ש‬উНϾϜ‫ޠ‬Κঐཏ ᜌ‫ם‬ᄙ‫ܗ‬НϾ౪དྷȷ Ȅ 68೼‫ٳ‬፤ᘉनࡤ‫ࡧޠ‬ᆱȂ‫ڐ‬ᄃϑ࡟݃඿ΠȄ ঩Ґϸ‫ݚ‬जᏱ࢑пථұȶ΢᜹ȷ඾ႈ՘࣐‫ࡧܗ‬དྷ࣐ᚸ‫ޠ‬Ȃ‫ءٯ‬ԥН Ͼཏᜌ‫ࡧޠ‬Մ౟ਗ਼‫ڐ‬ϜȂ‫؂‬ϛইᒧȶНϾѭȷ‫ޠ‬नෂ‫ٿ‬ህէឋ፤Ȅկณ Ѡ֐ᇰȂऽजϸ‫ݚ‬जᏱঢ়উ‫ޠ‬ጃ࢑೏ܼٙ՚РНϾ‫ීޠ‬ᛴ࿳ຬϟϜȂ‫ڐ‬ ࡧᆱዂԓ‫ࡧڸ‬Մጓ൝‫ܼښڨ‬уউ‫ܛ‬ዤோ‫ޠ‬зࣩȂҼᜳᗘռȄାЅϏ౐Τ ܼ೼ᆎ፤ख़ਣȂΚР८ད‫࣐ڐژڨ‬ᏣңϟᎣւȂѫΚР८έึញԫւᏣ ϛ૗‫ޣ‬௦ᐈձܼՍϐഷΠ၍‫ޠ‬Ϝ୾НϾ౫ຬȂܼ࢑НϾୣր‫ޠ‬ཏᜌೞൕ ᒻȂၑშ௄ȶНϾ༉ಜȷ‫ِ࡚ޠ‬џ၅ϸ‫ݚ‬जᏱ‫ޠ‬ϛ٘Ȅ೼ΚᘉѠп௄ା ЅϏ൸ȶ‫׶‬௒ज‫ڑ‬ȷ‫ڸ‬ȶ‫׶‬௒༉ಜȷ‫ܛ‬ձ‫ޠ‬ୣϸձᡞཽȄуӶȲϜ୾Н ϾѭϜ‫׶ޠ‬௒༉ಜȳᇴȈ ‫ש‬ණяᄈ‫׶‬௒༉ಜ‫࡛ޠ‬Ҵᇅึ৥‫ޠ‬၍ម࢑ஆܼΚ৉ஆቺ‫ޠ‬ ज‫ޠڑ‬ԚߞȄ೼৉ज‫ڑ‬ӱ࣐ᇅ‫׶‬௒༉ಜਁਁࣻᜱ‫ש‬উѠпӫ ϟ࣐‫׶‬௒ज‫ڑ‬ȄȌȌ‫׶‬௒༉ಜϜ‫ޠ‬ၒ጖Ѡп࢑ϛಓӬ‫׶‬௒ज ‫ޠڑ‬Ȅ೼ΚР८Ҧܼ‫׶‬௒༉ಜ࢑ၷኅဏ‫ޠ‬ȂՅ‫׶‬௒ज‫ڑ‬ηѠ пᇴ࢑‫ש‬উ୆೪‫ޠ‬Κঐ౪དྷ࢝ᄻȄѫΚР८έ࢑ӱ࣐༉ಜ࢑ ϛᘟӶᅌϾȂѻ‫ߓܛ‬౫‫ޠ‬ज‫ڑ‬η֊ԥ໧ࢳȃቺԪ‫ޠ‬ৰ౵Ȅ 69 ӶାЅϏЗϜȂ ȶ‫׶‬௒༉ಜȷᇅȶ‫׶‬௒ज‫ڑ‬ȷ‫ޠ‬ཏဏԥኅ੮ϟրȄуп ȶߩᐤѭȷ‫ޠ‬ϸ‫ݚ‬जᏱձ౪፤Ϗ‫ڏ‬ȂѠп࡛೪ȶ‫׶‬௒ज‫ڑ‬ȷ೼ኻΚঐȶ౪ དྷ࢝ᄻȷ Ȃ ȶ‫ٯ‬ਣȷӵᇅȶఅ‫ٲ‬ज‫ڑ‬ȷ‫ٿ‬ձᄈྲȄดՅȂуέཏᜌ‫ژ‬೼ᆎ. 67. 68 69. ାЅϏᇴȈȶ᛻೛ࣁ୞ᇅजདစᡜ‫ڸ࢑ۼژ‬ΚૢࣁᇅစᡜӤ᜹Ȃᗚ࢑ԥҐ፵‫ޠ‬ৰ౵ ‫ں‬ȉ‫ڐ‬ᄃӲ๏೼ঐୱᚡ൸ϑစ‫ۢ؛‬Πঐ΢‫ޠ߭ࣻܛ‬ज‫ڑ‬ȄȷُȲၑ፤Ϝ୾᛻೛ᆡઢȳȂ ॳ 144Ȅ ȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳȂॳ 212Ȅ ȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳȂॳ 213Ȅ.

(25) ௄ࡢၒज‫ژڑ‬Ϝ୾НϾѭ‫׶ޠ‬௒༉ಜ˕˕ାЅϏȶ‫׶‬௒ज‫ڑ‬፤ȷߒ௥! 77. ౪፤೪ۢȂ࡟ᜳ༬٘‫ޠ‬၍មӶȶᐤਣȷቺ८‫ޠ‬ᆎᆎᅌϾȄܼ࢑у‫ױ‬ຝഐ ܺቷȂпȶज‫ڑ‬ȷӶНϾѭϜ‫ޠ‬ሏᡑ‫ױٿ‬ඬНϾ༉ಜϜ‫ޠ‬ȶ‫׶‬௒ᆡઢȷ Ȃ Յпȶ‫׶‬௒༉ಜȷ‫ޠ‬౪၍ձ࣐у‫ޠ‬౪፤௥સ‫؂ޠ‬ାҭዀȄ 70 пί‫ש‬উ्ໍΚؐϸ‫ݚ‬ାЅϏᡞཽ‫ޠ‬ȶϜ୾‫׶‬௒ज‫ڑ‬ȷ‫ޠ‬ᐤѭߓ౫ І‫ڐ‬ᇅϜ୾НϾѭ‫ޠ‬ᜱ߾Ȅ ȞΡȟ‫׶‬௒ज‫ޠڑ‬НϾᜱᖓ ାЅϏߞܼࡧᒲȇ࿌уၑშ௄пࡢၒ࣐‫ޠ࠯ڑ‬ȶ‫׶‬௒ၒȷၯؐ‫ژ‬ȶ‫׶‬ ௒ᆡઢȷ ȃ ȶ‫׶‬௒ज‫ڑ‬ȷ ȂпՎȶ‫׶‬௒༉ಜȷ Ȃᙥпᒲ‫ݚ‬Ϝ୾НᏱ‫ޠ‬ᆡઢ๗ ᄻᇅ౪དྷਣȂഎ૗ණяᆡཌྷՅᑀ‫ُޠژ‬၍ȄดՅȂؑ࿌ដ࿧‫؂ژ‬ኅᗰ‫ޠ‬ НϾ૖๝ਣȂуࠔߓ౫яߩளᙲབྷȂԥਣࣦ‫࢑ܗ‬ଠᗘȄୱᚡ࢑Ȉу࢑л ୞ЖᏳу‫ޠ‬᠟޲‫ݨ‬ཏНϾ‫ޠ‬ᜱᖓȂดࡤέᇴ्һҦНϾѭ‫ޠ‬஠ঢ়џ೏ ౪ȄାЅϏ‫࠯ڑޠ‬ᗀ‫࢑ݳ‬೼ኻ‫ޠ‬Ȉ ȶНϾѭȷϜө࠯ࡧདྷԄե‫ם‬Ԛ༉ಜՅйࣻϤኈ៫Սด࢑Κ ঐ΢΢എᔗ၏ᜱϹ‫ޠ‬ᚡҭȄկϼდ೼ΚᆎНϾ‫ޠ‬ȶ‫ם‬ᄙȃ๗ ᄻȷ‫ޠ‬ӓშ࢑НϾѭঢ়‫ޠ‬ϏձΠȄ 71 ‫ש‬ᇰ࣐Ϝ୾‫׶‬௒ࡧདྷ࡟ԟԚ࣐ΠΚঐлᏳ‫ق‬ಜȂȌȌಡ࿾пࡤ ‫ש‬ᗚཽፚȂ೼‫שڌ‬᜺Ӳ‫ژ‬Κঐ‫؂‬य़Ϲ‫ޠ‬ୱᚡȂ֊࢑࣐ࣦቅϜ୾ НϾཽԥ೼ঐ‫ڦ‬Ӫȉ઎Ҕ‫ޠ‬Ӳ๏࢑्ࡠНϾѭঢ়‫ޠ‬ևΩȄ72 Ӷଇ፤ӉեϜ୾ज‫ڑ‬пࠊȂณᅹӵ‫ש‬উ၏ୱեпԫᆎज‫ڑ‬Ӷ ࿌ਣ‫ޠ‬НϾनෂϜ౱ҢȂ‫׶‬௒ज‫ڑ‬ՍҼϛ૗‫پ‬ѵȄՎЎ‫ש‬উ ᔗ၏ࣽΚίၮज‫ڑ‬ഷԥᜱ߾‫ࡧޠ‬དྷनෂȂ၍មΚίᐍᡞ‫ࡧޠ‬ དྷᡞ‫ق‬Ȅ೼ኻ೼ᐍঐᡞ‫ق‬Ϝ‫ޠ‬ज‫ޠ‬ᢏ‫܉‬ηՍߕμՅ၍Ȅկ࢑ ‫ש‬ϛկ‫ء‬ԥ጖ൾȂη‫ء‬ԥ૗Ω೼ኻ୉Ȅ೼‫ٳ‬τ‫ޠ‬НϾѭᇅࡧ དྷѭ‫ޠ‬ୱᚡѬԥ੽๞НϾѭঢ়ȃࡧདྷѭঢ়џ၍‫؛‬Ȅ 73. 70. 71 72 73. ೼ η Ѡ ૗ ࢑ Ӥ Κ ጖ Н ത ‫ ࡤ ࠊ ޠ‬ጉ ௵ ң ϛ Ӥ ᚡ ҭ ‫ ޠ‬঩ ӱ Ȉ ၷ ԟ я ౫ ޲ ᚡ ձ “Chinese Lyric Aesthetics”Ȃࡤ‫ߓึٿ‬൸ᚡձȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳȄ ȲНᏱः‫ޠف‬जᏱୱᚡȞίȟȳȂॳ 88Ȅ Ȳၑ፤Ϝ୾᛻೛ᆡઢȳȂॳ 152Ȅ ȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳȂॳ 226-227Ȅ.

(26) 78! ࢈τϜНᏱൣ! ಒΫ෉. ାЅϏ೼ঐዂ࿵‫ޠ‬ᄙ࡚Ȃ‫޲ܗ‬ѠпЇ࢏яΚᆎཌྷֽ‫ޠ‬З౪Ȅ೼Κᘉ‫ש‬উ ίНӕፚȄ౫Ӷ‫ש‬উӕ‫ڏ‬ᡞᔯຝାЅϏ‫ޠ‬НϾѭຝഐȄ ᢏоу‫ܛ‬Жң‫ࡅ᠍ޠ‬ȂЩၷ२्‫ޠ‬൸࢑৹ඉᢏȃԺۡήȂпІնऽ ਣȄାЅϏп࣐৹ඉᢏȮϜ୾᛻೛ᆡઢȯ፤Ѝφ‫ڸ‬ೆφȂԥֆуᇴ݃ȶ‫׶‬ ௒ज‫ڑ‬ȷ‫ޠ‬ӒᏳȇՅԺۡή‫ܛ‬ᗀ‫ޠ‬ȶძࣩ‫ם‬ᄙ‫םޠ‬ՅαᏱȷᇴ‫ݳ‬ȂҔԂ ၍មΠϜ୾‫ޠ‬ȶ‫׶‬௒ज‫ڑ‬ȷԄե௄ȶძࣩ‫ם‬ᄙȷ‫ޠ‬ȶՍ‫ש‬ᄃ፻Ϝึ৥я ‫ٿ‬ȷȄ 74 Վܼնऽਣ‫ޠ‬፤ख़Ȃ‫࢑؂‬ାЅϏ‫ܛ‬ཧ࡛‫ޠ‬НϾѭ࢝ᄻഷ२्‫ޠ‬ М࢙ȄӶȲၑ፤Ϝ୾᛻೛ᆡઢȳΚНȂାЅϏ‫ޠ‬Սख़࡟অூ‫ݨ‬ཏȈ ήԒࠊ‫෇ש‬ቹႇΚ጖Ϝ୾‫׶‬௒ज‫ึޠڑ‬৥ΚНȂȌȌ٠ϭ‫ש‬ τᡞαϬดࣻ߭೼ঐึ৥ⷑᡑ‫ޠ‬໣࢝ȂѬ࢑ۗಥញᇅᐍঐН Ͼѭ‫ึޠ‬৥ծоΚ‫ޣ‬ϛ૗‫ژ׳‬Κঐӱ‫ݏ‬૖๝ȄկΚԒ‫ٿ‬Ӷ‫ڎ‬ ঐϛӤ‫ޠ‬ൠӬ᠚‫ژ‬նऽਣఁ௳ଇ፤‫ژ‬Ϝ୾НϾѭα‫ޠ‬ѳঐ २्‫ޠ‬ऐખȂ‫ࡤٲ‬έᇅуଇ፤ႇ‫ש‬ᜱϜ୾᛻೛ѭα‫ޠ‬ංঐᙾ ௻ᘉȂញூ‫ש‬Սϐ‫ޠ‬དྷ‫ݳ‬Ӷ࡟ӼР८ѠпєৡӶу‫ܛ‬ණя‫ޠ‬ ਲ࢝ϟϜȄ 75 ାЅϏ‫ܛ‬ᇴ‫ޠ‬ήԒࠊ‫ޠ‬НതȂ࢑ࡿऽН፤НȲϜ୾‫׶‬௒ज‫ڑ‬ȳȄ࿌Ϝᗀ ‫ژ‬ԫΚȶज‫ڑ‬ȷ‫ޠ‬ѳঐ໧ࢳȈಒΚ໧ࢳ࣐ȶึᆓȷ˕˕пӒપॲ዆जᏱ ࣐፤ȇಒΡȃή໧ࢳȶᆡໍȷȞϸΡ໧ࢳȟ˕˕ϸրпഛᐡȲН፮ȳІ ቔ቗ȮНЗᓐᓹȯ‫ޠ‬НᏱ౪፤ȃভхࡢၒԚҴІ૪ਫ౪፤࣐ϜЗȇಒѳ ໧ࢳȶҔ‫ڑ‬Ͼȷ˕˕пі‫׉‬өࣃฬ፤‫༙ޠ‬Ӭ࣐ᜍȄାЅϏέࡿяಒѳ໧ ࢳҦϵϰಒΫзख‫۾‬৥‫ژ‬ΡΫзखߒѡ‫ڑ‬ਣ෉‫ޠ‬ಥ๗Ȅ 76 ାЅϏп೼ঐਲ࢝ᄈȶ‫׶‬௒ज‫ڑ‬ȷ‫ޠ‬ᅌໍձяᐤѭଢ㢿ȄӒ࢑ॲ዆ пഷԟ‫ޠ‬᛻೛‫ם‬ԓя౫ȂՅȶ዆ҦϜяȷ‫ޠ‬ᢏ‫܉‬൩ۢΠȶϲӪȷ‫ޠ‬ၿၰȄ ᝸Յя౫Π‫׶‬௒ज‫˕˕ّࡈޠڑ‬ȲН፮ȳ ȂпІീτᆡ౐‫ޠ‬ȮНЗᓐᓹȯ ȇ ഛᐡȲН፮ȳҔԓ‫ױ‬НᏱ౪፤ழ‫ژ‬ȶ഻ձ፤ȷϟαȂՅձࠣ‫ޠ‬ཏဏѬӶ ܼଅᓄ഻ձ‫ޠ‬՘࣐ȇቔ቗‫ޠ‬ȲઢࡧȳᇅȲ௒ߜȳ‫ڎ‬጖஡ȶЗȷ‫ޠ‬ձңȂп ՎҦȶ‫ם‬Нȷ ȃ ȶᖑНȷІȶ௒Нȷᡘұя‫ޠ‬ȶહᆟ‫ם‬ԓȷ‫ڸ‬ȶຬཏ‫ם‬ԓȷ. 74 75 76. ȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳȂॳ 227Ȅ Ȳၑ፤Ϝ୾᛻೛ᆡઢȳȂॳ 164Ȅ “Chinese Lyric Aesthetics” ,p47Ȅ.

(27) ௄ࡢၒज‫ژڑ‬Ϝ୾НϾѭ‫׶ޠ‬௒༉ಜ˕˕ାЅϏȶ‫׶‬௒ज‫ڑ‬፤ȷߒ௥! 79. ‫ޠ‬ཏဏȄ77‫ژ‬ΠভхȂࡢၒ‫࡛ޠ‬ҴᜍԚΠȶཏ‫םޠ‬ᄻȷ Ȟstructuralization of Ȃ஡௒ȃෂϾ࣐ȶཏძȷԚΠȶज‫ڑ‬ȷҭዀȇ 78ՅӤ෉૪ aesthetic ideaȟ ਫ౪፤ࠍึදΠпȶᘉฬ࣐௒‫ܓ‬Ȃ‫ם࣐ᙾٻ‬፵ȷȂη൸࢑ȶ੊‫ޠ‬፵౫ȷ Ȃпȶ੊༗ȷ࣐ज‫ޠڑ‬౪དྷȄӕՅȶཏ Ȟmaterialization of inner forceȟ ძȷ‫ڸ‬ȶ੊༗ȷϸրέ࢑ύЬฬ‫ڸ‬ЬᏏฬ‫ޠ‬л्ۡۧȂՅ‫ڐ‬ᖃ༙έӶܼ ‫׉‬пᗚ‫ޠ‬ȶН΢ฬȷ Ȅ 79 ȲϜ୾‫׶‬௒ज‫ڑ‬ȳ‫ڸ‬ȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳ‫ڎ‬጖ࣻᜱ‫ޠ‬НതȂ എпȶН΢ฬȷձ࣐ȶ‫׶‬௒ज‫ڑ‬ȷ‫ޠ‬ᐤѭఅख़‫ޠ‬ಥᘉȄ࿌Ϝ‫ޠ‬፤ख़‫ڸ‬ᖟ ᜍ‫ڿ‬ดЩпα‫ޠ‬ᄣ्Ϯಞᙵ൳‫ڏڸ‬ᡞȂկ‫ש‬উ‫ڔ‬ཏᆡᙐҔདྷऐᡘାЅϏ ‫ޠ‬፤ख़ᡓᒯȄу‫ޠ‬ᐤѭਫቹ‫ڐ‬ᄃᗚ࢑ᚕϛ໡ȶϸ‫ݚ‬जᏱȷ‫୒ܛ‬२‫ޠ‬ȶϲ ȂлΩӶଢ㢿ȶ‫׶‬௒ज‫ڑ‬ȷ‫ޠ‬ϲഌ๗ᄻ˕˕Џ‫ڐ‬ ഌѭȷ Ȟinternal historyȟ ࢑ȶϲϾȷᇅȶຬཏȷ˕˕‫ึޠ‬৥Ȃԥᜱȶज‫ڑ‬ȷᡑϾ‫ޠ‬НϾѭȶӱ‫ݏ‬ ૖๝ȷ‫ޠ‬һхȂᄃӶ྄ϛщϸȂ‫ڐ‬၍ម૗ΩҼ༽ᖢ৶Ȅ ᄈȶ‫׶‬௒ज‫ڑ‬ȷձȶНϾѭȷ၍មࢌดԚ࣐ାЅϏȶज‫ڑ‬ȷ፤ख़‫ޠ‬ ଢؒҭዀȂՅуέՍញΩԥґ້Ȃܼ࢑նऽਣȞାЅϏӶ඾‫ݔ‬ලႴτᏱ ‫ޠ‬Ӥ‫ٲ‬ȟᄈϜ୾ަཽНϾձࡧདྷѭၜម‫ޠ‬፤ख़Ȃ൸Ԛ࣐уഷᒒߗ‫ޠ‬ȶ၍ ঈ᝛ȷР਱ȄାЅϏЩၷᑗ྄ӵᔗңնऽਣ‫ޠ‬ȶϜ୾НϾѭѳঐऐખ ፤ȷȂ‫ٯ‬ლၑ࣐ȶज‫ڑ‬ȷ‫ޠ‬ᅌໍණ‫؂ٽ‬Ӽ‫ࡧޠ‬དྷНϾनෂ‫ޠ‬၍មȂُܼ Ȳၑ፤Ϝ୾᛻೛ᆡઢȳΚ጖ȂНϜಒή࿾ȲϜ୾᛻೛ᆡઢ‫ึޠ‬৥໧ࢳȳ Ӓԥնऽਣϟᇴ‫ޠ‬ϮಞȈ Ȟնऽਣȟණ‫ޠژ‬ѳԪऐખȂхߓΠϜ୾НϾӶҐᡞ‫םܗ‬ԓα ‫ޠ‬२्ᙾᡑȄಒΚঐऐખ࢑‫ڻݎ‬ਣ෉௄ࢍऎҒ۠‫ژ‬᏾୾Ϝ෉Ȃ η֊࢑ϵϰࠊϥзख‫ڸ‬ѳзखȄಒΡঐऐખ࢑ӶᅖᚮϟርȂҼ ֊ϵϰΡȃήзख‫ޠ‬ਣхȄಒήঐऐખѠпᇴ࢑ভ‫׉‬ϟርȂϥ 77. 78. 79. ାЅϏӶНϜ‫ޣ‬௦‫ױ‬ȶ௒ߜȷᙛណձ“Lyrical Expression”Ȃέᇰ࣐ȶ௒НȷѠೞຝ࣐ “lyrical form”ȇُ“Chinese Lyric Aesthetics”,pp66-67Ȅ ାЅϏܼԫпȶinscapeȷណȶძȷ‫ڸ‬ȶཏძȷȂُ“Chinese Lyric Aesthetics”,p 74Ȅα Н‫ש‬উණ‫ژ‬уηпӤΚມཋណȶძࣩȷȄ ାЅϏӶȲϜ୾НϾѭϜ‫׶ޠ‬௒༉ಜȳᇴȈȶ‫׳‬пȺ෭ЗޫርȻᖃ๗Ϝ୾ၒϜཏძ‫ޠ‬ ስ஀ȂпȺቹཏຬѵȻхߓϜ୾ਫ‫ݳ‬Ϝ੊༗‫ࡿޠ‬ӪȄՅΡ޲࢑Н΢ฬ‫ۗޠ‬ᇅಥȄȌȌ ‫׶‬௒ज‫ڑ‬Ӷ෭ЗΚቺձ‫ژ‬ϲϾ‫ޠ‬Κ८ȂӶቹཏΚቺᡘұѻ੬ԥ‫ޠ‬ຬཏ‫ޠ‬Р‫ݳ‬ȄȌȌ ҦܼᛳฬӶ‫ڑ‬α᝸‫ܜ‬ȃᆤӬȃᘘ৥Πၒᇅਫ‫ޠ‬ज‫ڑ‬Ȃ‫ܛ‬пӶߓ౫‫םޠ‬ԓαҼ૗ႁ‫ژ‬ ࣻህ‫ޠ‬ძࣩȄၒਫฬή๙‫ޠ‬౪དྷංо࢑೼ུज‫ޠڑ‬Ь‫ژ‬ෳԚ‫ޠ‬Ԛ‫ݏ‬Ȅȷُॳ 258Ȅ.

(28) 80! ࢈τϜНᏱൣ! ಒΫ෉. хᇅі‫׉‬੬ր࢑ΫІΫΚзखҔ࢑‫ڐ‬ᜱᗥਣ෉Ȅಒѳঐऐખ࢑ ݃ఽϟһ෈௄࿳ᐎ‫ژ‬໸‫ޠݾ‬ΫΝзखЇ࢏Π೼ঐᙾᡑȄ80 ାЅϏӶኦቹу೼Κ‫ق‬НതਣȂ‫ڐ‬ᄃ‫ٯ‬ґُ‫ژ‬նऽਣᄈϜ୾ࡧདྷ‫ޠ‬ȶѳ Ԫऐખȷ‫׈ޠ‬ᐍ፤ख़Ȃկ೼၈‫ޠ‬ᙐϮτयϛৰȄ 81նऽਣߗ෉ึߓȲ‫ש‬ ᇅϜ୾ࡧདྷѭः‫ف‬ȳȂᄈՍϐԄեึ৥೼ȶѳԪऐખȷᇴȂԥ‫ޠ्ײ‬Ϯ ಞȂӶԫ‫ש‬উѠпЖ࣐ଇ፤‫ޠ‬਴ᐄȄࡹྲնऽਣ‫ݳࣽޠ‬ȂؑԪࡧདྷ‫ޠ‬ȶऐ ખȷഎԥ‫ݾ࢈ڐ‬НϾ‫ޠ‬ӱጣȈಒΚԪऐખ‫ޠ‬नෂ࢑ȶᙅᚾ዆஬ȷȂӒપ ፞φ‫ࡧޠ‬དྷጣ࢑ՅҢȇಒΡԪऐખึҢӶᅖࡕ୾໡ۗϸບϟਣȂя౫ȶထ ᡞફ‫ז‬ȷᇅȶঐᡞՍҦȷ ȃ ȶӫఁȷᇅȶՍดȷ ȃ ȶ௒ȷᇅȶᙅȷϟ‫ލ‬ȇಒ ήԪऐખᜱоভȃ‫׉‬ϟር‫ޠ‬τᡑ୞Ȃ೼ਣȶུᕬۡȷ‫ޠ‬ȶΤз་ӪȷЖ Ᏻя‫׉‬хȶၿᏱȷঘ౪Ȃпȶூ֘՘ၿȷ࣐౪དྷȇಒѳԪऐખ‫ڏ‬ᡞпе ໩݃‫ޠ‬ȶयً‫ޤ‬ȷϟఁ࣐ߓኊȂ ȶூ֘՘ၿȷࢌϛѠூȂܼ࢑ȶញҖ՘ ၿȷ‫ࡧޠ‬དྷхϟՅᑺȄ 82 ஡նऽਣ‫ڏޠ‬ᡞ፤ख़ᇅାЅϏණя‫ޠ‬Ϝ୾‫׶‬௒ज‫ึڑ‬৥໣࢝ࣻ ၷȂѠпُ‫ࢌ޲ڎژ‬ԥϤࣻᒋ༙‫ޠ‬Ѡ૗ȂկηԥϛЎࣽ‫⷇࢑ٿ‬᢫ՅРᱮ ‫ޠ‬ӵРȄାЅϏ፤ȶಒΚԪऐખȷȂআңΠնऽਣ‫ޠ‬ȶᙅ዆஬ᚾȷՅՎ ȶ΢‫ܓ‬ញᒻȷ‫ࡧޠ‬ՄРӪȂ83ໍΚؐ௱ो၍មॲ዆ϲӶ๗ᄻ‫םޠ‬ԓஆᙄ ᇅՍด౫ຬ‫ޠ‬ᜱ߾Ȃᇰ࣐࿌Ϝя౫Πпȶ๊অ‫ޠܓ‬Щൖᜱ߾ȷ၅щՍѡ п‫ޠٿ‬ȶ‫ޠܓ៊۾‬ӱ‫ݏ‬ᜱ߾ȷȂ‫ٻ‬ȶॲ዆ȷᇅȶ௒‫ע‬ȷ‫ޠ‬ຬኊᜱ߾ூп ࡛ҴȂ೼ᆎ΢Нлဏ‫ࡧޠ‬ዙȂέ࢑‫׶‬௒༉ಜ‫ޠ‬лࢻȄାЅϏԫᇴᗷดη ԥ೩ӼЗᜍ‫ޠ‬ԚϸȂկᇅնऽਣ‫ޠ‬ᗀ‫ءݳ‬ԥ݃ᡘ‫ޠ‬ҮࣾȂࣦՎѠпᇴ࢑ ᘘᗰΠնᇴ‫ޫޠ‬໣ȄՎܼȶಒΡԪऐખȷਣ‫ޠ‬НϾनෂȂӶାЅϏಂϜ ߓ౫࣐ȶӫఁ‫ޠ‬ӡᐡȷίȂ ȶঐ΢௄ަཽ‫ޠ‬ȃѵӶ‫ޠ‬ၿ኉зࣩଞᗵ‫ژ‬Κ ঐՍ‫ש‬ϜЗ‫ޠ‬ȃϲӶ‫ޠ‬Зຬзࣩȷ ȇ࿌ϜȶҦՍ‫ש‬ᆡઢ‫ޠ‬ϲࣹ‫ߓژ‬౫ȷȂ Ҕ࢑‫׶‬௒ज‫ึޠڑ‬৥РӪȄ೼၈‫ޠ‬ϸ‫ݚ‬έϛᜳ‫ڸ‬նऽਣϟᇴ።‫ڟ‬ȄΡ΢ ‫ޠ‬ϛӤ೏Ӷܼ೼Ԫȶऐખȷ‫ޠ‬ጓ൝‫ޠ‬౪၍Ȅնऽਣп࣐೼ԪȶऐખȷҦ 80 81. 82 83. Ȳၑ፤Ϝ୾᛻೛ᆡઢȳȂॳ 164Ȅ ାЅϏӶНϜҼһхՍϐ௄ϛӤ‫ޠ‬ൠӬ᠚‫ژ‬նऽਣ‫ޠ‬ᇴ‫ݳ‬ȂђαΡ΢ߞ෉Ӷ඾‫ݔ‬ල ႴτᏱӔ‫ٲ‬Ȃଇ፤‫ޠ‬ᐡཽϛཽЋЎȂ‫ܛ‬пାЅϏၷԟூ‫ޤ‬նᇴ‫ޠ‬డ྆Ȃη࢑Ѡ૗‫ޠ‬Ȅ ُնऽਣȲ‫ש‬ᇅϜ୾ࡧདྷѭः‫ف‬ȳȂȮࡧདྷȯȂಒ 8 ᒯȞ2008ȟȂॳ 1-18Ȅ ‫ྦ؂‬ጃӵᇴնऽਣ࢑ᇴȶলᏱऐખȷӶϜ୾࢑пȶЗᏱȷ‫ڦ‬хΠȶઢᏱȷȄȲ‫ש‬ᇅϜ ୾ࡧདྷѭः‫ف‬ȳȂॳ 7Ȅ.