王船山「現量」詩說原論

Pratyaksa and the Poetics of Wang Fuzhi

因編寫《相宗絡索》之緣，王船山將唯識學「現量」一詞引入詩學。從現量「緣自相之有境心」的基本定義出發，依據船山對現量「現在」、「現成」、「顯現真實」三個層面的界說，並與其具體的詩歌批評相互參證，「現量」詩說的涵義可析分為多個方面，如即景會心，貌其固有，獨至之情等。「現量」詩說注重自心的映現，應與明末性相相融的佛學思潮有關。在最終的價值取向上，唯識學現量追求的是無生無滅的圓成實性，而船山詩學藉「現量」觀念體悟的是天地大化的生生不息。

In the course of writing his treatise Main Threads of Dharma Character (《相宗絡索》), Wang Fuzhi (1619-1692) introduced into Chinese poetics the concept of pratyakṣa. This concept, which was central to the Vijñānavāda school of Buddhism, states that both phenomena and consciousness originate from svalakṣaṇa (the real). Wang Fuzhi's poetic theory incorporates his definition of the three levels of pratyakṣa-namely, the Current, the Present, and Showing the Real. It can be used to evaluate many specimens of actual poetic writing. It is also multifaceted; for instance, it embraces the following viewpoints: a poet should write about the present scene and make his/her description fit in with his/her own heart; a poet should describe what is natural in the world; and the most outstanding poet is one who describes emotional states that no one else has reached. The fact that Wang Fuzhi's poetics emphasized self-reflection probably has to do with the integration of Vijñānavāda and the dharma-nature toward the end of the Ming dynasty. The final goal of the pratyakṣa of Vijñānavāda is the universal-actual truth that is not-arising and non-perishing. Wang Fuzhi's poetics further emphasizes the endless vitality of nature.