「能研諸慮，何遠之有哉」——《文心雕龍．風骨》九慮

The Nine Considerations around the Chapter Feng-ku (“Wind” and “Bone”)in Liu Hsieh's Wen-hsin tiao-lung

劉勰的《文心雕龍》，基本上是指導寫作的著述。此書成功與否，端在能否有效地以學文之道啟迪後學，因此書中用的，應該是當時不難理解的語言。作者用齊、梁盛行的駢儷之文撰寫全書。為了對偶爾剪裁語言，同時需要大量用近義詞和反義詞，容易引起概念上的混淆，這就造成後世理解上的困難。其中〈風骨篇〉的解讀問題，相信是今天研究者意見最為紛耘的。本文旨在說明劉勰在指導後學作文的進路中，提出風骨有什麼意義，並根據〈風骨篇〉結語「能研諸慮，何遠之有哉」，指出風骨並非高不可及的要求。本篇題為九慮，而重點有三：第一是從全書宗旨探討劉勰為什麼要提出風骨，針對什麼問題提出風骨，風骨在學文的進程中屬於什麼層次的問題；第二是就劉勰論文的二分概念說明風骨的性質；第三是通過《易經》卦象〈彖辭〉，辨釋「剛健」和「文明以健」諸語， 分析劉勰用《易》的原意，澄清有學者認為劉勰在〈風骨篇〉提倡剛健風格的看法。

Liu Hsieh's Wen-hsin tiao-lung is essentially a book about how to write efficiently. It was a book aimed at those who are learning to write, and was, naturally, written in intelligible language for the benefit of its intended audience. However, as it was written in parallel language with an ornate style, using a great deal of synonyms and antonyms, it is not without ambiguity to the modern reader, causing heated debates on a number of issues. The interpretation of the Chapter Feng-ku is probably the most controversial of all in terms of the meanings and functions of “wind” and “bone”. This paper attempts to demonstrate that, as a mentor giving advice to someone who is learning to write, Liu Hsieh introduced the concept of “wind” and “bone” in the chapter Feng-ku as a fundamental and essential requirement for all writings. Indeed, the last sentence of the chapter states, “If one pays attention to these considerations, why should the art be beyond one's reach?” The author of this paper takes this as an indication that in Liu's mind, the attainment of “wind” and “bone” is not out of reach of most writers and need not be a mystery. There are nine considerations raised in this paper, with the following focuses: 1. To investigate why Liu Hsieh introduced the concept (of wind and bone) and the issues he addressed; 2. To clarify the meanings and functions of “wind” and “bone” in view of Liu's tendency of using dichotomy in literary discussions; and 3.To argue on the basis of the terms used by Liu which were drawn from the Book of Change, that “wind” and “bone” have nothing to do with strong and vigorous style as some modern scholars have asserted.