本文主要分為三個部分，首先，從還原作者志意的困難說明歷來詮釋李白詩的爭議根源，並由此回溯詩與志的離合關係，乃至於由「用詩言志」到「作詩言志」的歷史轉變。揭示「詩」與「作者志意」的結合，實經歷一段複雜的文化建構過程，其中實證主義的傾向，使具有多元可能並根植於「感發」與「互動」的「興」意在詮釋活動中受到遮蔽。其次，便重新檢視早期「興於詩」的意涵，透過孔子及其弟子的談詩言志，說明興意起於「集體共感」與「即境而生」的特質，然而，此一意涵在後世「詩言志」的理性索解中逐漸淡化失落，形成以推尋作者志意為目標的詮釋，以致漸失詮解活動的開放性。最後，則由「興於詩」到「賦比興」並列，再進而形成「比興」合辭以與「賦」相對的發展，說明「興」意在詮釋活動中重要性的遞減。並接續以李白詩為例，嘗試解開志意還原論的桎梏，讓興意即境而生，形成穿越時空呼喚著人類集體意識的永恆禮讚。

　　　　　This essay is divided into three parts. The first part starts by pointing out that some debates in interpreting Li Po's poetry come from the difficulties of re-discovering the author's intention, between poetry and intention is much more complicated than the intention theorist depicts. The essay further traces the development from "using poetry to express the will" to "making poetry to express the will", revealing that the combination of "poetry" and "the author's will" has gone through an intricate process of cultural construction, in which a positivist, reductionist approach has suppressed an interpretative pluralism based on the idea of "hsing" (arousal, initiation, sensitivity, interactivity). The second part re-examines the meanings of "hsing-yu-shih" (hsing in poety), quoting the ways Confucius and his disciples talk about poetry and the will which emphasize the aspect of poetry's hsingin collective sensibilities and the responsiveness to situation. This aspect, however, has been gradually falling out as the later rationalist approach grew so strong as to reduce the meaning of poetry into the author's intentions, losing the openness of interpretation. The last part contrasts "hising in poetry" to "fu-bi-hsing" (composition-analogy-arousal). This part point out that with the latter turning into a separation between "bi-hsing" and "fu", the importance of "hsing" diminishes. It concludes, using Li-Po's poetry as an example, with a refutation of intentional reductivism of interpretation, and a recovery of "hsing" as the way to relate poetry to our deepest cultural imaginations and collective unconsciousness.