出門一笑大江橫－－元好問論詩三十首的文學解讀－以羅曼•英加登的理論為中心的探討

Leaving Home and Laughing at the River-A Literary Interpretation of Yuan Haowen's Thirty Poems on Poetry Research Centered on the Theories of Roman Ingarden

元好問論詩三十首是重議論及主意的宋詩型態下的產物，而現象學將文學作品視為「純意向性客體」實可與之參照。現象學美學學者羅曼•英加登認為文學是多層次的構成，包含1.語言的語音造體層次、2.意義造體層次、3.再現客體的層次4.圖示觀相的層次。此四層次在《論文學作品》目錄所題，將圖示觀相放在最後，但《對文學的藝術作品的認識》中則以之為第三層，有所調整。今藉此四層次外推以分析元好問論詩三十首，一二層次序不變，三四層則合而論之。首先在語音層上依次闡發元好問於此三十首中的押韻現象、韻腳轉換及其意涵，解讀聲情與文情的關係；其次在意義造體層上分四點討論，強調詩中運用前人詩文資料，形成用典，或直接徵引或雜揉或辯白批判形成論詩之判準。在再現客體層與圖示觀相也分四點進行耙梳：1.直接再現為客體、2.在肯定為正體中有辯護及釐清、3.古今正偽對照，並以圖示觀相顯現偽體、4.直接以圖示觀相顯現作品為正體或偽體。至於元氏論正體實包含風骨、天然、真淳、新奇等，則正體也有一形而上學質在，詩歌的生命力透過「許多具體化」乃至於「意識主體不斷構建新的具體化而發生變化的時候」－「他才活著」，以此進而挖掘三十首詩正體的深層意義。

Yuan Haowen's Thirty Poems on Poetry is a product of the new discussions and ideas regarding Song Dynasty poetic forms. One way to view them is to utilize phenomenology, which sees works of literature as ”purely intentional objects.” The phenomenological aesthetics scholar Roman Ingarden considered literature to be constructed of many strata, including 1.) units of sound, 2.) units of meaning, 3.) representative objects, and 4.) graphical appearance. These four strata are delineated in the contents of The Literary Work of Art, in which graphical appearance is listed last. However, in The Ontology of the Literary Work of Art, Ingarden listed it as the third strata. This is an intentional adjustment, to be sure. These four strata will be utilized to analyze Yuan Haowen's Thirty Poems on Poetry; the first and second strata will retain in their original order, however the third and fourth strata shall be conjointly discussed.First, the rhyming scheme, final rhyming word alternation, and meaning in Yuan Haowen's 30 poems are elucidated on through use of the sound strata, which interprets the relationship between the sound-emotion and literary sentiment. Next, the unit of meaning stratum is broken down into four points of discussion to create criterion for deliberations and critique of poetry through emphasizing the utilization of poetic information from predecessors and their forming of archetypes and precedents, use of allusions, direct quotations, fusions, or pleading of innocence within the poems. The representative object and graphical appearance strata are also analyzed from four perspectives: 1.) direct representation of objects; 2.) defense and clarification in affirmative language using orthodox style; 3.) contrast of ancient/modern and orthodox/unorthodox using unorthodox style; and 4.) directly displaying if the work is orthodox or unorthodox through graphical appearance.The discussion of Yuan Haowen's orthodox style includes its stylistic vigor, naturalness, sincerity, and novelty, but the orthodox style also possesses metaphysical qualities. The vitality of the poetry emerges through ”abundant objectification,” and even to the point where ”he is alive only” […] ”when conscious that the subject is constantly constructing new objectification to make changes occur.” This is used to further uncover the profound meaning contained within the 30 orthodox-style poems.