「感傷詩人」的詩學追索──解析船山「自有五言，未有康樂；既有康樂，更無五言」說

The sentimental Poet Thinking upon Poetry Alteration-to Analysis Wang Quanshan's commentary: “Since had five-character Poems, there is no one’s accomplishment like Xie Lingyun; and Xie’s poetry had emergence already, there is no five-character Poems to place on a par”

船山之稱譽康樂，在詩學史上是一個纏訟不休的問題，但似未能得到令人滿意的解答。針對《古詩評選》「自有五言，未有康樂；既有康樂，更無五言」之譽，本文主要由三個面向來詮解：其一，在情景交融視域的觀照下，船山重新抉發出康樂這些景句（模山範水之語）內涵之情意邏輯，且風景山水亦有新的意蘊，那是詩人參贊天地，酌大化於一蠡，在語言文字中獲取兩間大化的生生之意。其二，謝詩因遊覽或行旅之故，內中富含時間與空間之變動，這種特質與汴宋後開發出的「詩以意為主」有了內在呼應，船山遂能藉著謝詩的內在意理開展、轉折與收攝，論述其神形不測之感，並以此豐富、也調整「意」的內涵。而上述兩個面向自非身處明末清初船山所不能為；那既是船山詩論根柢，也是他藉以回應詩／世道的補偏救弊之方。明乎此，則進入第三個面向，同樣充滿著對往者之懷想與今者之改造，船山對謝靈運之「心賞」，那是作為風雅衰亡的見證者，希冀回到那未被污染的乾淨土，但卻非遠古素樸之《詩三百》，而是詩歌將變未變，古盛律伏的年代──晉、宋之際，那幾乎是後世律化詩歌之「萌芽」與「起點」，同時也是五古之「終點」與「極盛」。這個年代的意義在於：詩歌走上試驗的道路，詩人擁有最好的機會，擁有最多的可能與潛在變化之基質，但作為「感傷詩人」，那是一個船山再也回不去的天真年代，因而滿懷對古（指詩體）想望，撫今追昔的慨嘆，而終於對謝靈運之無盡嘆賞。

Many researchers studied Wang Quan Shan's commentaries on Xie Ling-yun’s poems, aim to why Wang praised Xie’s poems pretty highly? Although there is no proper answer so far. To be aimed at this debate subject, I will try to discuss this subject in three different dimension : First, In taking the view of “fusion between emotion and scene” , Wang thinks that Xie’s poems expressed the feeling of poet based on the correlation between heaven and human. Secondly, in Wang’s viewpoint that Xie’s scenery poems respond to the “Concept is the dominant factor in poetry” , according this, Wang remade a discussion. Third, Wang thinks that poetry’s development is gradually declined. This tendency fits and matches to the occurrence of regulated verse. So Wang likes Ancient Poem more than regulated verse, he admired Xie’s ancient poems very much as well. Wang’s commentary was located at the special time point: the late Ming and early Qing Dynasty, so he is the sentimental poet, and can’t go back to the naïve age-during Jin and Song Dynasties-poetry still maintain purity by itself.