從語言結構論鍾嶸「興」義的轉向與創新

The Discussion of the Conversion and Innovation of Chung Jung’s Shing Theory from the Structure of Semiology

在中國詩論中，「興」是一個極為關鍵又時常受到矚目的論題。學者以「感物起情」及「興象之語」詮釋鍾嶸「文已盡而意有餘」的獨特興義，成果已斐然可觀，本文欲提出以語言符號探入，從符號表意過程的六要素，在每個階段的支配與主導，考掘鍾嶸「興」義在先秦至六朝的演變中，所扮演之繼承與創新角色。此一詮釋獲致的結論是：《論語》論詩，著重於詩在符號傳達中的詮釋功能，致使「興」的感發聯想受到「符碼」牽制，而出現「元語言」傾向。兩漢時代，符號傳達過程出現強烈的「指稱性」（referent），形成與「比」義糾結不清的情態。六朝鍾嶸以「興」義揭示對文學語言結構的了解與認知，符號傳達過程出現強烈的「能指」傾向，使得內涵義不斷擴充與增生。以結構語言學解析「興」義的轉變，目的在於微觀分析「文盡意餘」是什麼樣式的語言結構。

In Chinese Poetry Theory, the most important subject is ＂Shing＂. The scholar commented the special Shing theory of Chung Jung, which was the connotation, by responding from the feelings and by the language describing the images. In this article, we use the different way to comment the Shing theory, which is the language semiology. From the six factors involved in verbal communication, we discover the inherited and creative parts of Chung Jung’s Shing in the period of Pre-Chin Dynasty to Six Dynasties. The conclusion is that due to Confucian Analects were focused on the explanation function of poetry in the verbal communication; the impression of Shing was draw by the code and tended to be metalanguage. In the period of Han Dynasty, the verbal communication showed the great referent and became intertwine with the Bi theory. Chung Jung used Shing to discover the understanding of the literature semiotics structure. The verbal communication showed the great tendency to signifier and increased the inner meanings. By using language semiology, we could analyze the language structure of the connotation.