ABSTRACT

The essence of Chuanshan’s Poetics is “Qingji（情几）” poetics which belongs to the lyric tradition of Chinese classical poetry. However，the perspective of the theory of human nature behind Chuanshan’s Poetics in turn greatly deepened the lyric tradition. The main point of the deepening process，or the core points，is the proposal of “Qingji” theory.

“Ji（几）” proposed by Chuanshan originates from Yizhuan. The basic meaning of “Ji” is “subtleness in movement” including two aspects：“movement” and “subtleness”. From the aspect of “movement”，it demands to seek certainty from uncertainty，and seek definiteness from indefiniteness. It corresponds with the statement of the generation of “Qing” in the phrase “affection is the subtle changes between Yin and Yang”. From the aspect of “subtleness”，it means from implicit to explicit and to recognize the whole through observation of the part. It corresponds with the expression of affection or the formation of poem in the phrase “the affection of poem is a subtle change”. Taking “Qingji” theory as the core，Chuanshan’s Poetics develop the more static theories “Yuanqing（缘情）” and “Yinyongqingxing（吟咏情性）” as a very powerful and initiative dynamical system.

From the “dynamic” side，at first，Chuanshan threaded the universality of the human nature theory，common affection and the special affection in poem together. The generation of “affection of poem” is a dynamic process，which is the result of the subtle changes between Yin and Yang and the collision of mind and object. Chuanshan’s pratyaksa theory thoroughly explained the process of the affection’s generation. From the fundamental point of view，“pratyaksa” is a poetic expression of the phrase “affection is the subtle changes between Yin and Yang” concerning the affection’s generation.（Chapter2）Secondly，the process of affection creating poem is a dynamic rendering process of the poetic affection from implicit to explicit at the same time. One way is through scene to affection，the other way is through sound to affection. So the scene and the sound are both important ways to express the poetic affection. The scene relies on the internal vision，and the sound relies on the internal musicality and halcrow characteristics. These two processes both correspond Chuanshan’s view “the affection of poem is a subtle change” and highlight the momentum characteristics of the poetic affection.（Chapter3，4）

From the “dominant” side，poem in Chuanshan’s mind，actually is a natural extension of “nature-mind-affection” human structure，and finally complete the affection. Chuanshan’s explanation of affection was more deep and subtle through poem. In his explanation，there was not only more accurate analysis for different types of affection，but also the value direction of affection as developing one’s nature and kindness was more definite.（Chapter1）At the same time，affection，as one of the recurrent and fundamental elements，also more and more showing its noumenon and dominant side in specific participation of poem’s conception and formation. In this “dominant” perspective，the “reality” and the “logic” which cannot be possible to evade in the process of poem’s formation can also be integrated into the poetics system with “affection” as the main part. And the integration enriched the content of Chuanshan’s “Qingji” poetic theory.（Chapter5）

Chuanshan’s “Qingji” Poetic theory has its unique theoretical value，which not only provides a perfect line for the accomplishment of Chuanshan’s human nature structure especially emotion structure，but also provides a solid ideological support from the dimension of metaphysical and the dimension of human nature for the development of the lyric tradition of Chinese classical poetic theories.

KEY WORDS：Chuanshan；poetic theory；Qingji；dominant；lyric fradition