杜詩之「興」──兼論其所反映的詩學觀念上的位移

The Concept of Xing in Du Fu’s Poetry and Its Implications for the Shift in Tang Poetics

相較於其他杜甫（712-770）詩學觀念用語，杜詩之中最常出現的其實是「興」字。本文旨在釐清「興」字在杜詩中的語義層次與詩學意涵。文章指出杜詩中「興」的用法多元，不僅含括傳統「託喻」與「起情」等古典意涵，更多是意指心緒狀態與創作靈感之「興」，尤其是自鑄「遣興」一語並以之為詩題，表現其內在蘊積的憂思情緒，顯示「興」已意指某種持續性的心緒狀態。本文認為，杜詩中「興」的用法，反映出唐代詩歌創作論除心物觸發之感興義，亦開啟注重主體內蘊情感的「詩興」、「遣興」義。杜甫「興」義之多元運用，標示了唐代詩學觀念上位移之肇端。

Compared with other poetic-critical terms in Du Fu’s杜甫(712–770) poetics, the term xing興actually appears the most frequently in his corpus. This article aims to clarify the semantic layers and poetic significance of xing as used in Du Fu’s poetry. It demonstrates that the usage of xing is multifaceted: while it includes traditional meanings such as tuoyu託喻and qiqing起情, it also at times denotes a state of mind or poetic inspiration. In particular, his self-coined poetic category qianxing遣興(conveying what stirred me) expresses a mood of accumulated sorrow, revealing that xing comes to signify a sustained psychological condition. The article suggests that Du Fu’s deployment of xing reflects a shift in Tang poetic theory—from an emphasis on stimulus-response dynamics between self and object, to a new focus on inward, enduring affectivity as seen in terms like shixing詩興(poetic inspiration) and qianxing. This polyvalent use of xing marks the beginning of a conceptual transformation within Tang poetics.