｢隱｣｢秀｣表現の知覺言語的檢討 : 宋代詩話を中心に

Abstract

Mei Yao-ch'en (梅堯臣) has commented on two effective expressions, "realistic" and "symbolic". The former, Hsiu (秀), has the effect of making one feel as if he is seeing the events described right before his own eyes. The latter, Yin (隱), has the effect of a lingering aftertaste that comes from "between the lines", than from a direct descriptive expession. Hsiu (秀) appeals to one's visual sense, projecting an image which makes one feel he has been taken into the same space as the writer. It leads one from the world of the written language to that of the spoken language. Hsiu (秀) aims to express meaning directly and exactly by appealing to the most objective of man's five senses, that of vision. Example of this kind of expression can be found in early fu (賦). Yin (隱) however has often been compared to taste, for instance that of tea, by such writers as Ssu-k'ung Tu (司空圖), Su Shih (蘇軾) and Yang Wan-li (楊萬里). Taste has no objective quality. Thus, Yin (隱) takes no interest in exactitude of expression or communication, but rather, seeks anxiously to find a private pleasure in savouring in the imagination the meaning of an inexplicite expression. According to the development of Chinese criticism, Hsiu (秀) had gradually been replaced by Yin (隱). This transition, I think, has been related to two propositions in Chinese literature and philosophy--poetry expresses one's mind (詩言志) and one's mind is beyond language (言不盡意). Further, Hsiu (秀) is aps to take a garrulous description in expressing its meaning exactly, and this shows us a native, childlike and somewhat primitive approach. Yin (隱) however, aims at charging words as much meaning as possible while seeking a simplicity which is suited to the essentially economic use of the language. The movement from Hsiu (秀) to Yin (隱) goes from quality in exactitude, to quantity in the mass of expression and communication. This transition shows us of itself the direction of the growth of Chinese criticism.