王夫之 시론 중의 ‘現量’과 ‘詩的 想像’의 관계 고찰

Abstract

Pratyaksa(現量)’s concept, which is the one of the most central part of Wang Fuzhi(王夫之)’s poetry, is sometimes described as “the true and natural outflow of direct and intuitional emotions that occur when faced with scene(景)”. The presentness and intuition this concept, which emphasized, was seen as contrasting with poetic imagination(詩的想像) at first glance, and I tracked how these two concepts relate to each other. In connection with poetic imagination, he used four main concepts: The shenhli(神理) that can be regarded as a “close unconscious association”, the xiangwai(象外) that can be regarded as “imagination beyond time and space”, and the quying(取影) that can be regarded as a “association of a person in poetry”, and the yingshe(影射) that can be regarded as a “figurative imagination.” He demonstrated and corrected concepts in concrete works. In this way, Wang Fuzhi did not deny the poetic imagination, but affirmed it in poetic terms for various poetic imaginations, but it is also a fact that it is slightly different from our viewpoint today. The reason is that it is an important premise of his poetry system. It is Poetic ontology(詩本質論) called “the fundamental sound of the heart”(心之元聲), stylistic awareness(文體意識) that limits the poetry allowed in song form to five-word poetry, and Poetry is shijiao throry(詩敎觀) that must be gentle and magnanimous(溫柔敦厚). On these premises, we find that the poetic imagination he argues is closely related to the content of Pratyaksa, which has a strong sense of truth.