The Study Of The Dialectic Relationship Between The Subject And The Object In The Theory Of Poem Creation Of Wang Fu-chih

Wang Fu-chih is an outstanding philosopher who lived from Late Ming Dynasty to Early Qing Dynasty. His philosophy theory is the integration of ancient naive materialism and dialectics of our country. His poetic theory is established on this profound basis, with the Chinese classical poetry as his subject investigated. His theory of poem creation, as an important portion of his poetic theory, reflects a kind of fusion of philosophy and poetics obviously. It has both theoretical depth and research value. Taking this kind of complex interconnectedness into consideration, we must approach Wang Fu-chih's theory of poem creation with his philosophy theory, or it'll result in the defectiveness of study depth.Basing on the basis of previous studies, this thesis aims at researching his theory of poem creation. In his philosophy, he puts forward and emphasizes the dialectical thought that the subject and object are "dimidiate" and "syncretic". This thesis takes it as the breakthrough point to do the further research about the primary categories of his poem creation theory.Wang Fu-chih affirms that the object and its law as well as the people's cognition of them exist objectively, and both influence each other. These ideas affect and support his theory of poem creation throughout significantly. He regards "Giving the most brilliant expression of emotions, and grasping the innate laws of things" as the highest level of poem creation. He expounds this category, and proposes that the subject must give full play to their initiative and to comprehend the object for the core principle of poem creation. In specific stages of the creation, Wang Fu-chih puts forward the category of "Mind's eye", "Partyaksa" and "Feeling-and-scene", they reveal how the aesthetic contemplation, aesthetic inspiration and aesthetic image generate in the creative process that go forward one by one. "Mind's eye" theory means that the writer can't obtain the impression of object without the combined action of aesthetic mind and sensory organ; on this basis, the subject would comprehend the essence and law of the object in instant with the aesthetic intuition in "Pratyaksa" theory; at last, "feeling-and-scene" theory shows the interaction of aesthetic emotion and object that in the generative process of aesthetic image.