在胡應麟《詩藪》美學體系中的興象、風神與格調之關係(上)
Authors: 元 鍾禮 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
胡應麟在《詩藪》中一面講究音律韻度和體裁等的純粹形式的問題，一面把體格聲調譬喻為水與鏡，興象風神譬喻為月與花。所以我們容易認為他所謂的體格聲調的內含就是指形式的問題，興象風神是作家的情緒或者作品的內容。
本人認為格調説反映着儒家審美意識的。可是，皮表上看，胡應麟的主張似乎否定我的假説之妥當性，而且還可以把他從格調論者轉向興象風神論者。
經過上面的研究，本人得知胡應麟所謂體格不僅是指着某個詩體之理想的结構和聲音的形式（包括運意、句法、章法和平仄、押韻等等），還指着某個詩體之典型的、傳統的風格而講的。他所提起的體格，除了樂府體以外，都不是有情感激昂的氣骨之體。除了樂府體之「峻」和「嶮」兩種風格以外，其他假如不是興象之風格，就是風神之風格。從屬於格調的風格當中，「悲壯」和「平清」、「閒淡」、「流動」可以説是興象型風格。除了「悲壯」以外，「平清」、「閒淡」、「流動」等三種風格，又可以説是秀朗型之風神。
胡應麟所謂體格是某個文體或者某個詩體所固有的形式的特徵和風格上的特徵。興象則由作家柔和的氣質為中心而形成的審美範疇，風神則由作家的活潑豁達氣質（風）和自然指向的志向之結合而產生的審美範疇。所以興象和風神兩者反映作家的個體生命的特徵。不過，由〈體格—表〉我們可以知道在胡應麟所認識的七言古律和五七言排律的體格已經包含着「虛大型」風神美感。
如果有人表現出自己的興象、風神來寫某個體裁詩的話，與某個體裁本有的體格不會衝突，結果可以不脱離其格調。因為興象風神雖然出於個性的，不過和現實生活維持一定的美學距離，本來是屬於「雅」的東西，結果不叛傳統，不脱出體格。 Hu, Ying-Lin had paid much attention to formative elements of poems, for example, temperament, tone and the characters of any special type of poems in one hand; but in other hand, he used an interesting simile, that is: Ti-Ge (the traditional characters of any special type of poems) and Sheng-Lu (temperament) & Yun-Du (tone) are similar to water and mirror, Xing-Xiang (the Configuration of Inspiration), Feng-Shen (Windlike Spirit) is similar to the moon and a flower which is shown in water or a mirror. His simile is easy to cause us to recognize the meaning of the Ti-Ge and Sheng-Diao (temperament and tone) as limited to simple formative factors and Xing-Xiang, Feng-Shen as the reflecion of the writer's emotion, spirit, and inspiration, etc..
I have had a hypothesis the poetics of sonorous style (Ge-Diao) said by former and later seven masters in Ming Dynasty implies the aesthetic sense which has come from Confucius thought, and concerns about favorite style of poems. But, Hu, Ying-Lin's simile looks like to deny my hypothesis to be true. It may go so far as to change him from a man of sonorous style to a man of Xing-Xiang (the Con-figuration of Inspiration), Feng-Shen (Windlike Spirit).
Through this study, I have known that Ti-Ge (the traditional characters of any special type of poems) said by Hu, Ying-Lin does not only mean some formative elements of any special type of poems (implies how to arrange meanings, how to make a structure of a sentence and a clause, how to use sounds and rhymes etc.), but also mean ideal and traditional style of any special type of poems.
All of the Ti-Ge (the traditional characters of any special type of poems) which he had mentioned if does not belong to the style of Xing-Xiang （the Configuration of Inspiration）, then belongs to the style of Feng-Shen （Windlike Spirit）, except only one type of poems. The only one type of poems of exceptions is the poems from music （Yue-Fu Ti 樂府體）, it asks the poet for any strong motived emotions, and implies srong energy and will. So the ideal and traditional style of the poems from music is 'loft and severe（峻）' or 'perilous and harsh （嶮）'. Among the styles of Ge-Diao, 'tragic and stirring （Bei-Zhuang 悲壯）', 'flat and clear （Ping-Qing 平清）', 'free and light（Xian-Dan 閒淡）', 'floating （Liu-Dong 流動）'can be belong to the style of Xing-Xiang （the Configuration of Inspiration）, also. Except 'tragic and stirring （Bei-Zhuang 悲壯）', 'flat and clear （Ping-Qing 平清）', 'free and light （Xian-Dan 閒淡）', 'floating （Liu-Dong 流動）'can be belong to the style of 'elegant and bright （Xiu-Lang 秀朗）' which is one style of Feng-Shen （Windlike Spirit）.
The Ti-Ge （the traditional characters of any special type of poems） said by Hu, Ying-Lin means inherent formative and stylistic characters in a special type of poems. Xing-Xiang （the Configuration of Inspiration） is the aesthetic category which comes from mild and tender characters of writer. Feng-Shen （Windlike Spirit） is the aesthetic category which comes from liberal and spacious characters and the aspirations tended for the nature of writer. So We can say that Xing-Xiang （the Configuration of Inspiration） and Feng-Shen （Windlike Spirit） reflect special character of a writer as a individual human being.
Through the table-Ti-Ge （the traditional characters of any special type of poems）, we can see Ti-Ge （the traditional characters） of ancient type of seven character poems （七言古詩）and recent type of seven character & eight line poems （七言律詩）and doubled recent type of five & seven charater and eight line poems （五七言排律）already implies 'empty and spacious 'Feng-Shen (Windlike Spirit) aesthetic feeling. If a writer express his or her Xing-Xiang (the Configuration of Inspiration) and Feng-Shen (Windlike Spirit), he or she can not find any conflicts with Ti-Ge (the traditional characters of any special type.) Because Xing-Xiang (the Configuration of Inspiration) and Feng-Shen (Windlike Spirit) although come from one's individuality, but they keep some aesthetic distance from one's real life and have elegant and graceful characters, which does not make any conflicts with traditional aesthetic feelings.