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4 (Stephen Owen) Stephen Owe n, Readings in Chinese Literary Thought (Cambridge, Ma s s.: Council on East Asian Studies, Harvard University, 1992), pp

5 (sympathetic response) 1 7 (Marcel Granet) ( J o s e p h Needham) ( o rg a n i s m ) Kiyohiko Munakata, Concepts of Lei and Kan-lei in Early Chinese Art Theory, in Susan Bush & Christian Murck, eds., Theories of the Arts in China (Princeton: Princeton University Press, 1983), p Joseph Needham, Science and Civilisation in China (Cambridge: Cambridge University Press, 1956), 2:

7 ( i n d u c t i o n ) ( s u b o r d i n a t i v e t h i n k i n g ) (coordinative thinking) Needham, Science and Civilisation in China, 2:

8 3 5 ( c o n t i n u i t y ) 3 6 (Roman Jakobson) ( T h e Metaphoric and Metonymic Poles) (metonymic) ( m e t a p h o r i c ) Roman Jakobson, The Metaphoric and Metonymic Pole s, in Ha zard Adams, ed., C r i t i c a l Theory Since Plato (New York: Harcourt Brace Jovanovich, 1971), pp

9 (experience of transparency) ( Vitaly A. Rubin) Daisetz T. Suzuki, Zen and Japanese Culture (Princeton: Princeton University Press, 1993), p

10 Vitaly A. Rubin, The Concepts of Wu-Hsing and Yin-Yang, Journal of Chinese Philosophy 9.2 (1982):

12 ( ) 56 Bhikkhu Nyanasobhano, Landscapes of Wo n d e r: Discovering Buddhist Dhamma in the Wo r l d Around Us (Boston: Wisdom Publications, 1998), p

19 ( T h. Stcherbatsky) (Sā ṅkhya system of philosophy) (Universal Flux) (legato) (staccato) Th. Stcherbatsky, Buddhist Logic (Delhi: Motilal Banarsidass Publishers Private Limited, 1994), Vol. 1, p

20 (Robert H. Sharf) Robert H. Sharf, Coming to Terms with Chinese Buddhism: A Reading of the Tre a s u re Store Treatise (Honolulu: University of Hawaii Press, 2002), pp

21 ( t h e Resonant-Body of the Buddha)

22 (John R. McRae) Sharf, Coming to Terms with Chinese Buddhism, pp Sharf, Coming to Terms with Chinese Buddhism, p

23 Sharf, Coming to Terms with Chinese Buddhism, p

27 Owen, Readings in Chinese Literary Thought, p

28 (vision) Owen, Readings in Chinese Literary Thought, p

29 (Eugen Herrigel) Eugen Herrigel, The Method of Zen, ed. Hermann Ta u s e n d ; trans. R. F. C. Hull (New Yo r k : Vintage Books, 1974), pp

32 [discourse time]

34 192 (v i p aś y a nā) 193 :

35 (Northrop Frye) (lyric poetry) ( d i s c o n t i n u i t y ) Northrop Frye, Approaching the Ly r i c, in Cha viva Hošek & Patricia Parker, eds., Ly r i c Poetry: Beyond New Criticism (Ithaca and London: Cornell University Press, 1985), pp lyric poetry

36 -36-

37 The Twenty-Four Varieties of Poetry: Coalescence of Neo- Taoism with Chan Buddhism XIAO Chi Associate Professor, National University of Singapore This essay intends to open a new vision for the studying of Shi pin ( T h e Twenty-Four Varieties of Poetry), exploring how the text relates histori cally to its intellectual and literary contexts. As there is a fundamental difference between S h i p i n s poetic concepts and those valorized by the Wei-Jin metaphysics (X u a n x u e), particularly since the old lyric formula of stirring-and-response is eclipsed or even subverted in this text, it is thus argued that Xuanxue cannot be the exclusive source for Shi pin. The progress which occurred six centuries after the Wei-Jin period created a new formula in poetics: the relationship between a poetic mind and its objects was transformed from a response following a st imul us to a shared, schematic totality: visaya, landscape, scene, sphere, objective content. Even a limited form of dualism between mind and object no longer existed, nor did a metonymic or a narrative process from stimulus to response. What appeared was a phenomenological scene (viṣ a y a). The author demonstrates that the coalescence of Neo-Taoism in Xuanxue, Chongxuan Taoist religion and Chan Buddhism of the literati of the mid- and late-tang led poetics into this transformation. By breaking down the concept of linear time, and subverting the stirring-and-response formula by Buddhism, the new lyric concept of i n s c a p e, j i n g, which designates a pure phenomenon that finds humans and their world in m u t u a l i t y, was born. This essay argues that the Shi pin meta-lyrically embodies this new lyric experience of non-dual, transparent experience. The essay demonstrates the discontinuity of time and non-metonymic nature, and analyses the relati onship between two central concepts of Chinese poetics, jing and shi (propensity of things), in this text. It concludes that the Shi pin is jing incarnate and it has exerted a substantial influence on Chinese literary criticism. Keywords: jing (viṣaya in Buddhism or inscape in poetry) Chan laymen of literati coalescence of Neo-Taoism and Chan Buddhism denial of lyric formula of stirring-and-response staccato of universal flux -37-

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˘ªF¶Î 2004 3 129 153 1 2 NSC 92-2411 - H - 001-009 - A C 1 1 968 1 0 2 003 C. R. Boxer, The Christian C e n t u ry in Japan, 1549-1650 (Berkeley: University of California Press, 1967) Boxer 2 Helen J. Baroni,