本书阐述从先秦到明清的中国古代诗道论及其发展历史，认为中国古代诗学由经典诗学与文人诗学两部分构成。文人诗学是文人在具体的诗史中实践经典诗学的历史。经典诗学发生于古代政教体系中，但深刻地揭示了人类诗歌艺术的规律。言志是经典诗学的核心概念，也是后来文人诗歌创作的基本崇尚。从文人诗歌史的具体实践来看，中国古代抒情诗学的轴心在“吟咏情性”之说，其成就则主要体现在“变风”“变雅”的创作上。中国古代在艺术上有独特追求的诗人，总是在自觉的诗歌本体观念下展开其创作实践的。中国古代诗人在言志、情性、性灵这样几种基本诗歌本体观念的启发与引导下，展开了漫长的诗道探索历史。诗歌史即诗学史，中国古代诗学发展的基本形态是理论与实践的紧密结合。

钱志熙 ---------------------------- 钱志熙，北京大学中文系教授，长江学者特聘教授。北京大学古代文体研究中心主任，中文系古典学平台负责人。中国李白研究会会长，中华诗词学会副会长。从事中国古代诗歌史及其相关文化背景的研究。出版《魏晋诗歌艺术原论》《唐前生命观和文学生命主题》《汉魏乐府艺术研究》《陶渊明传》《陶渊明经纬》等专著十余种，发表论文二百余篇。

引论：经典文论的三个基本体系及其在后世的流变 ······················1 一、经典乐论 ·································································1 二、经典诗论 ·································································7 三、经典“文”论 ························································· 13 第一章 中国早期诗学的性质、分野及与西方早期诗学的比较 ······ 21 一、早期诗学与文人诗学················································· 22 二、早期诗学的几种类型················································· 25 三、作为作者自叙型开端的《诗经》《楚辞》的诗论 ··············· 28 四、早期诗学理论体系的形成及其与西方诗学的比较 ············· 33 五、“乐”作为中西印诗学的共同概念与其不同的展开途径 ······ 37 六、中西早期诗学在学术形态上的同异 ······························· 40 第二章 早期诗学的发展进程：从王官诗学、行人诗学到诸子诗学 ····· 42 一、王官诗学 ······························································· 43 二、行人诗学 ······························································· 56 三、诸子诗学 ······························································· 61 第三章 先秦“诗言志”说的绵延及其不同层面的含义 ············· 68 一、“虞庭言乐”与第一个诗歌本体论的产生 ························ 69 二、春秋行人赋诗言志说诠解 ········································ 74 三、诸子各家对言志说的各自发展 ····································· 84 四、言志与“六义” ················································· 88 五、经典序列中的“诗言志” ········································· 91 六、《礼记·乐记》与《毛诗大序》对“诗言志”的总结与发展 ······ 93 第四章 汉儒经学、纬学诗论 ··········································· 98 一、四家《诗》的渊源及传授情况 ····································· 98 二、四家《诗》论的大概·············································· 112 三、四家《诗》的言志及美刺之说 ···································· 115 四、纬书诗说 ······················································ 122 第五章 《毛诗大序》的经典价值及其成因 ···························· 126 一、《毛诗》序传承传诗教时代以来的诗学 ························· 127 二、《大序》六义新说 ·········································· 136 三、《大序》所揭示的群体诗学原则与个体诗学原则 ·············· 142 第六章 诗歌史的早期建构 ··································· 147 一、早期关于“先王之乐”及“音乐之所由来”的叙述 ········· 148 二、孟子和郑玄等人以“正道”为核心概念的诗史观 ············ 150 三、班固横亘着经典与非经典的诗歌史建构 ························ 156 四、司马迁、王逸以抒情为中心的《楚辞》诗歌史建构 ········· 158 五、班固的乐府诗史建构················································ 164 小 结 ······························································· 165 第七章 两汉至魏晋的诗赋理论 ··········································· 167 一、汉代辞赋的基本理论················································ 167 二、“诗赋”整体论抉发 ················································· 172 三、“赋出于古诗”论 ·················································· 174 四、汉赋源出《诗经》的具体表现 ···································· 180 五、文人诗出于赋及汉魏“诗赋整体论” ··························· 183 六、赋论与诗论先后相互影响的关系 ································· 189 七、文人诗创作诗歌本体论发展的基本逻辑 ························ 191 第八章 南朝至唐代“人文化成”文学观的流行历史 ················ 198 一、《周易》文说、人文说 ······································· 199 二、《周易》文说在汉魏晋时代的采用情况 ························· 202 三、齐梁时期《周易》“人文化成”说成为一种文学原理 ········ 206 四、唐初诸史对“人文化成”说的弘扬 ······························ 213 五、“人文化成”说在唐代文学理论中的流行与变化 ·············· 220 第九章 唐初史家与诗家对南北朝诗歌史的建构 ······················ 228 一、隋代李谔、王通对南北朝诗风的批评 ··························· 228 二、初唐史家对齐梁诗风基本上持肯定的观点 ····················· 229 第十章 唐代儒家诗论及其基本范畴 ····································· 233 一、唐人继承并发展儒家诗论 ·········································· 233 二、唐人正变之说 ···················································· 236 三、唐人风雅之说 ···················································· 239 四、唐人采诗采风之说 ················································ 242 五、复古与格式两派的“六义”说 ···································· 245 六、唐人以“比兴”为诗之高格 ······································· 249 第十一章 唐人诗道说：由伦理本体论向艺术本质论的转化 ······ 255 一、从儒家到钟、刘等人关于诗道的阐述 ··························· 255 二、孔颖达等《毛诗正义》对诗道的阐述 ··························· 261 三、初盛唐复古派对诗道的提倡的论述 ······························ 270 四、皎然对复古诗道的质疑 ········································ 278 五、白居易、刘禹锡两家对诗道的不同把握方式 ·················· 282 六、晚唐诗道说与“诗道”一词的流行 ······························ 286 第十二章 “吟咏情性”说在诗学中的主轴地位（上） ············ 289 一、“吟咏情性”之说的产生背景与其在先秦两汉诗学中的位置 ························································ 291 二、南北朝时期情性本体诗学观念的确立 ··························· 296 三、南朝性灵说的实质 ··········································· 306 第十三章 “吟咏情性”说在诗学中的主轴地位（下） ············ 313 一、唐代诗人：吟咏情性与裨补教化并举 ··························· 313 二、唐人的“情性”“性灵”之说 ····································· 320 三、宋代《诗经》学继承《毛诗》一派情性说：二程与永嘉学派 ····················································· 324 四、宋代《诗经》学质疑《毛诗》一派的情性说：欧阳修、朱熹 ························································ 332 五、宋代诗歌创作与批评中的情性论 ······························ 340 六、元明清诗学中性情、性灵的理论与实践 ························ 348 结 论 ·························································· 351 第十四章 风雅正变的诗歌史 ····································· 353 一、雅颂的理论及其后世延续 ····································· 354 二、《毛诗》系统的变风变雅说 ···································· 355 三、汉代王朝雅颂兴起于文人个体创作之前 ························ 360 四、汉魏文人诗对风雅传统的继承：崇正而实变 ·················· 366 五、历代王朝政治的循环规律与诗风的正变 ························ 370 后 记 ························································ 374