高友工先生的抒情傳統論述，係為當代重要學說之一，其影響鉅大，甚至有「高友工震盪」之稱。當代新儒家的學說，實為高氏論述的重要基礎，其牽引抒情傳統的理論內涵、歷史敘述之完成。可是，抒情傳統與新儒家學說的關係，罕受學術界注意、討論。近年來，王德威先生認為在討論抒情傳統譜系時，不要忽略五○年代前後新儒家學者的影響。龔鵬程先生卻以「戲論」稱呼高氏學說，認為高氏對於牟宗三先生學說，「誤解大了」、「完全理解錯亂」；高氏論藝術精神，又迥異於徐復觀先生。就此看來，高友工先生與當代新儒家的關係，應有重新釐清之必要。以道德心性為思想內核的當代新儒家學說，如何被高氏架接於文學藝術的討論？其洞見與不見為何？本文嘗試從理論內在間架、理論現實關懷、歷史敘述等路向，予以梳理。

Dr. Yu-Kung Kao's statement of lyrical tradition is one of the distinguished contemporary theory in Chinese studies. His theory has significant impact to the contemporary Sinology, thus some people even call his theory as ”Yu-Kung Kao Concussion.” The contemporary New Confucianism is the infrastructure of Kao's statement, it constructs the structure of traditional lyric theory, especially in the theory contents and the history texture. However, few discussion associated with the relation between the traditional lyric theory and the Contemporary New Confucianism. Recently, Dr. David Der-wei Wang(王德威) considers that we should not skip the effect of the New Confucianism around 50s' when discussing in the traditional lyric. But Dr. Peng-Cheng Kung(龔鵬程) said Kao's statement is ”invalid argument”, and considers that Kao totally miss understood Dr. Zhong-san Mao's(牟宗三) concept. Besides, Kao has different viewpoint with Dr. Fu-Kuan Hsu(徐復觀) at art spirit. Hence, it is necessary to clarify the relation between Kao and Contemporary New Confucianism. This article tries to discuss how the Contemporary New Confucianism be constructed in Kao's theory by different phases, including the historical structure, and the inner framework and realistic reflection of the theory.