本文由明代詩論中以樂論詩這一重要理論現象入手，討論作為王船山詩學框架的詩樂關係論。文中首先指出：秉承儒家傳統，船山在詮釋儒家經典時即肯定了音樂的宇宙論和倫理之至高意義。而在其涉及詩與音樂關係的文字中，又以形跡的幽微入空和無有邊際作為判斷超越程度的根據，置樂於詩之優位。然而，船山又以「詩者，幽明之際者也」這一命題指明；處優位之樂並不與詩隔絕，而可「涵之於下」，即涵容在詩�堙F同時，處下位的誠亦能「際之於上」，即以希微清空為基至高境界。在此，除對詩藥關係提出一種新的解決之道而外，王氏其實揭示了中國文藝中一個與中國哲學中「超形上學的吊詭」相對應的、肯認形上與形下一貫、具象與抽象顯微無間的傳統。由其以樂為詩之極詣的看法為基點，王氏論詩倡「聲情」，即主以外在的聲昭徹內的在的情。這使他在言與聲的關係上，強調以樂理駕馭文字，以使言宣於聲；而在言與意的關係上，強調以言起意，反對刻畫之意。從其詩學的整體而言，此一詩樂關係論的理論重要性在於：它使王氏肯認了詩歌中形式的本質意義。而以樂為詩之極詣，則使船山主要將詩視為時間藝術，即以動姿體認宇宙的和絃。然而，由肯認詩際於幽與明、密與顯、神與形、可見與不可見之間的立場，船山又同時得以承繼和發揚宋以來的情景理論、在詩學中昭顯有形的空間世界。然而，這卻是須涵容眾動之化、並在空間維向和通感意義上體認宇宙和絃的形色世界。

　　　　　Started with a Ming theoretical phenomenon of discussing poetry in terms of the music, this essay discusses Wang Fuzhi's view on the relationship between the music and poetry, the very frame of Wang's poetics. First, the essay demonstrates that, carrying on the Confucian tradition, Wang in interpreting Confucian classics apotheosizes the music for its paramount cosmological and ethical significance. In his writing referred to poetry and music he also situates the music in the position superior to the poetry by the latter's invisibility and limitlessness. Yet, Wang's proposition, "Poetry is swinging between shade and light," also asserts that the music as the transcendent is never cut off from the more immanent one, the poetry, but could be embraced in the poetry. At the same time, the poetry could also stumbles across the superior by reaching the celestial realm. At this point, apart from offering a new way to see the relationship between the music and poetry, Wang actually reveals a tradition in Chinese art and literature, correspondent with the "trans-metaphysics" in Chinese philosophy, a tradition which advocates interflowing and interpenetration between the visible and the invisible, between the concrete and the abstract, and between the temporal and the spatial. From his point of view to treat the music as the paramount realm of poetry, in lyric criticism Wang pays high regard to shengqing, i. e., making phonologic effect of syllables emotionally expressive. Therefore, he believes that should is prior to be considered between character and sound and the linguistic discourse in verse should be made in musical terms. By the same token, he thinks that phonological from of lyric language should lead meaning in verse while deliberately setting up a meaning for poetry should be denied. For Wang's frame of poetics, the importance of his view on relationship between the music and poetry is the realtization of significant form itself. Furthermore, by treating music as the supremacy of poetry, Wang basically regrads poetry as an art of time, an art which embodies the cosmic accord with its rhythm. However, by his concept that poetry is swinging between shade and light, between the visible and the invisible, Wang also, at the same time, can carry on and develop the lyric theory of "scene and felling in the poetry" the evolved in Song period, and thereby highlights the visible, spatial world in poetry. Yet, this visible would must embrace the perpetual dynamics, and in the spatial dimension and in synaesthetic sense, embodies the cosmic accord.