直覺與境界 : 朱光潛對王國維境界說的詮釋及對話

王國維《人間詞話》雖吸收傳統詩學並以中國傳統的詩話形式寫成，卻深具現代美學的眼光。其境界説既是中國傳統文論的發展，也是中國現代美學的奠基。朱光潛以克羅齊的直覺説爲觀念框架將王國維的境界説納入其中，對其觀念作了進一步的詮釋與再造，使得境界成爲詩論體系中的核心範疇，亦使境界説轉化爲現代美學的基本範疇。朱光潛在吸收王國維境界説建立本人之詩學過程中，也與王氏形成了詮釋與對話關係。王國維論詞有隔與不隔之説，朱光潛對王氏的理解與詮釋究竟隔與不隔？實成一有趣的學術史問題。從王國維到朱光潛都融會中西文論與美學而自成其説，呈現出晚清到民國期間學術轉型的重要面向。 Although written in "poetry talk" form developed in traditional Chinese poetry criticism, Wang Guowei's The Ci Poetry Talk of the World introduces a perspective of modern aesthetics and establishes his theory of "Inscape." After Wang Guowei, Zhu Guangqian adopted Croce's theory of intuition as a broad conceptual framework to rethink and transform Wang's theory into a broader aesthetic paradigm. His sustained dialogue with Wang raises an interesting question of an interplay between lucidity and opaqueness concerning his expositions on Wang's critical insights. The rise of Wang's and Zhu's theories betoken the profound transition of Chinese intellectual thought during the late Qing and early Republican periods.