性情的本体化——明代中期诗学的精神转向

The Feeling being as the Essence of Poetry: the Turn of Poetics in Ming Dynasty

明代诗学的发展,大概可分为三个阶段:第一阶段,以前七子为代表的复古主义;第二阶段,后七子及其同时代的唐宋派等文学流派对复古主义的批评性转换;第三阶段,李贽、公安三袁的诗学为代表的激进情感主义。在既往学者论述中,一般忽视了第二阶段文学家所做的重要转换工作。而梳理第二阶段的转换过程的关键思想运动,对于探讨"性情"本体化概念所起的枢纽作用大有裨益。

The development of the Ming poetics could be divided into three stages. First of all, it is assumed as the literary drive of revivalism represented by the former seven poets. The second stage appears as the criticism against the revivalism from the later seven poets as well as contemporary literary schools such as the Tang-Song School. The third stage is considered as the radical emotionalism of Lizhi and the three Yuan brothers of the Gong-An School. However, the significance of the criticism of the second stage has been understated. This essay aims at inquiring into the crucial thought movements in the second stage, especially discussing the individuation of the concept of ＂ Xingqing＂ （disposition）