跨東亞視閾下《詩經》“六義”說的再觀照
Re-examining the Theory of "Liu Yi(六義)" of the Book of Songs from a Cross-East Asian Perspective
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《詩經》學上的“六義”源出“六詩”，後來在學史上形成“三體”與“三用”説，在跨東亞文化研究的視角下，本文指出“采詩”與“觀風”説與在政治生活中可操作性方面的問題。同時，就後代學者於“賦比興”的分類提出了質疑。進而指出“國風”並非一定是周代王爲觀察民風而采集的詩篇，而是爲了觀察與周王朝關繫密切的諸侯國政治抱負而成，邦風進入朝廷，亦可能是一種殊榮，如秦國、鄭國。雅詩即是以周人“夏樂”演奏之詩，而頌則是用來讚美祖宗神德的宗廟樂舞詩。本研究在先秦賦詩言志的曆史背景下認爲“賦”指的是在外交、社交場合，人們“賦詩言志”。“比”指的是所引用的詩句需相互匹配。“興”則是指在外交、社交場合中引用《詩》中之隻之志來“興”己之志。
Abstract
In the study of the "Book of Songs", the concept of the "Liu Yi" originated from the "Liu Shi(六詩)". Later, in the history of scholarship, it developed into the theories of "San Ti(三體) " and "San Yong(三用)". From the perspective of cross-East Asian cultural studies, this article highlights issues related to the theories of "Poetry Collection" and "Observing Customs" in terms of their operability in political life. Additionally, it raises questions about the classification of "Fu(賦), Bi(比), Xing(興)" by later scholars. It further points out that the "Guo Feng(國風)" are not necessarily poems collected by Zhou kings to observe the customs of the people during the Zhou dynasty. Instead, they were composed to observe the political aspirations of vassal states closely related to the Zhou dynasty. When the airs of a state entered the court, it could be considered a special honor, as was the case for states like Qin(秦) and Zheng(鄭). The "Ya(雅)" poems were performed with the "Xia Music(夏樂)" of the Zhou people, while the "Song(頌)" were temple music and dance poems used to praise the divine virtues of ancestors. This study, against the historical backdrop of expressing aspirations through poetry in the pre-Qin era, suggests that "Fu" refers to expressing one's aspirations through poetry in diplomatic and social settings. "Bi" refers to the need for quoted poems to match each other. "Xing" refers to using the aspirations expressed in the Book of Songs to inspire one's own aspirations in diplomatic and social contexts.