美感詮「勢」：從形塑方法論《文心雕龍˙定勢》之「勢」義

Interpreting ‘Shi’as Aesthetic Feelings: Demonstrating the Significance of ‘Shi’ from “Ding Shi” of “the Literary Mind and the Carving of Dragons” by the Methods of Creating

多數學者皆將《文心雕龍˙定勢》中的「勢」視為「風格」；然而，筆者認為就〈定勢〉之實際內容來看，「勢」或應詮釋為：「作者通過『情』、『體』之設置調度，所傳達出的具體各式感受」—其中，「情」既為「作者自發內具之情緒」，也是「作家因物而生之感受」；而「體」則兼有「文學作品之形構與意涵的有機總合」，與「內容或功能各有殊異的文章類別」等義。此外，在分從「情」、「體」論述「勢」之形塑方法，並依其生成過程將「勢」界定為百花齊放的感覺型態之後，筆者認為若將此說與西方美學思潮相互比較，則不難發現「勢」應與「美感」之涵義當有極為相似之處：例如此二者皆須主觀情緒之投入、皆要憑藉客觀對象方能成立、皆無法發用於現實場域等。當然，必須說明的是，劉勰所認定的「勢」實為由作者所預設的「感受」，與西方美學裡「美感」源於讀者的著眼角度，大相逕庭；其次，「美感」在產生過程中所可能出現的任意性與差異性狀況，也與「勢」的普遍性、預設性、恆定性，差距甚遠（因「勢」當為由「情」與「體」所決定的必然結果）！ Most Scholars define the significance of ‘Shi’ from “Ding Shi” of “the Literary Mind and the Carving of Dragons” as a style. But the author of this thesis tries to interpret the significance of ‘Shi’ as feelings based on sentiments and ‘Ti’ according to the contents of “Ding Shi”. Furthermore, the sentiments come from human minds and stimuli of external things, and meanings of ‘Ti’ include both the all sides of the literary work and all kinds of literary categories. Besides, there are several close similarities found in ‘Shi’ and ‘Aesthetic Feelings’ from a modern view. For example they both need sentiments and objects to fulfill their meanings but they do not possess a real function. Of course, it should be noted that ‘Shi’ are feelings predetermined by the writer, but the ‘Aesthetic Feelings’ are produced by the readers. In addition, with the same objects, the ‘Aesthetic Feelings’ can be interpreted very differently by different readers. But ‘Shi’ is produced by the writer through sentiments and ‘Ti’, and has very strong predictability.