論《古詩評選》、《六朝選詩定論》、《采菽堂古詩選》之「虛」評與物色情景

On the Critiques of Intangibility Related to Wu Se, Emotion and Scenery in Gushi Pingxuan, Liuchao Xuanshi Dinglun, and Caishutang Gushi Xuan

明末清初古詩評中，吳淇、陳祚明對與物色相關，作為動詞、形容詞、副詞之虛字探討較多，著意展現物態本身，顯示美學感知，拓展前朝少見之視野。船山「寫光寫氣」對虛物有較多關照。吳淇更進一步深刻闡說虛物之物理性。陳祚明主張「捕虛得踪」，將實體物色虛化，是最重虛物者。延伸至「物色賞玩之情」、「涉及生命情懷之情景交融」，船山之論可見虛物乃外景活潑、情景融合之關鍵；吳淇則是精細闡述虛物與情思之同步變宕；陳祚明在寫景必寫虛的主張中，充分揭示情生發轉變的各個層次。船山三家之虛評將鏡花水月論從相對抽象的理論落實至親身感知，展現美學之具體化。諸評將「一般性」情、物往「類型性」精細挖掘，有助深化情物議題。

In late Ming and early Qing ancient poetry criticism, Wu Qi and Chen Zuo-ming devoted significant attention to the exploration of function words related to Wu Se, particularly when these words were employed as verbs, adjectives, or adverbs. Their discussions emphasized the depiction of objects’intrinsic states, revealing an aesthetic sensibility that expanded the relatively limited perspectives of earlier dynasties.∗Chuan-shan’s notion of“depicting light and qi”emphasized the representation of intangible elements. Wu Qi expanded on this by deeply exploring the physical aspects of the intangible, while Chen Zuo-ming, with his advocacy for“capturing traces of the intangible,”focused on virtualizing concrete imagery, marking him as the most committed to the study of intangible elements. Extending this discourse to“the delight in Wu Se”and“the emotional resonance of merging emotion and scenery,”from Chuan-shan’s discourse, it can be seen that intangible elements are the key to enlivening external landscapes and facilitating the fusion of emotion and scenery. Wu Qi offered detailed analyses of the synchronic fluctuations between intangible elements and emotional expression. Chen Zuo-ming, with his insistence on always incorporating intangibility in descriptive writing, fully revealed the layers of emotional evolution and transformation. The reflections of these three critics grounded the metaphorical theory of“Mirror Flower, Water Moon”in tangible aesthetic perception, demonstrating the concretization of aesthetics. Their critiques refined the“general”relationship between emotion and objects into“typological”precision, contributing significantly to a deeper understanding of the interplay between emotion and objects.