現代詩「景」的符號－－經驗、記憶、時間、空間

The Sign of Jing 景 in Modern Chinese Poetry: Experience, Memory, Time and Space

有關詩「景」，常與「境」相涉，且有「虛」和「實」的分別，又常與「境界」一同討論。論者以為「景」與詩「境」的「虛」與「實」，並非各不相干而是相互依存的。饒宗頤(1916-）、蕭遙天、葉嘉瑩(1924-）等人分別就相關問題，提出不少有價值的見解。現代詩亦有不少以「景」入詩的作品。本論文引述上列論者的若干說法，參以段義孚就「感知」的解釋，以「景」符號化的具體特性為貫串脈絡的討論，深入探討現代詩「景」及詩「境」與「境界」的關係。

Jing 景 is an important element in Chinese poetry which has been, explicitly or implicitly, a focus of discussion among literary critics, Despite or perhaps because of its “transcendental” implications, this term has mainly been explored in classical Chinese poetry; its use in modern Chinese poetry has seldom been analyzed. The present essay attempts to utilize the literary interpretations of Jing and Jingjie 境界 of Jao Tsung-i饒宗頤（1916- ）, XiaoYao-tian 蕭遙天 and Ye Jia-ying 葉嘉瑩（1924- ）, with reference also to the ideas of Tuan Yi-fu段義孚, in order to discuss the sign of Jing via semiotic theory, according to which every interpretation relies upon the relationship between the sign and the meaning of itself.