「情志批評」是中國古典文學批評中的主要型態，顏崑陽教授曾對其內涵做出豐富的論述。本文在顏先生情志批評相關論述的基礎上，嘗試透過對話的方式，一方面對其論說結構及內容做相應的了解與消化；另外一方面，亦希望能夠運用經典詮釋學的視域與進路，嘗試對情志批評的原有理路及實踐成果，做更進一步的理論推闡與深化，以期更能豐富這套論述的學術內涵。 文章的主體分為兩個部分，第一部分是對顏先生既有論述的全面回顧與檢討，包含情志批評的兩個次型態、作者情志與作者本意、情志批評的方法與實踐、情志批評批的歧誤與調適之道。第二部分是嘗試從經典詮釋學視域來重新觀照情志批評，以及情志箋釋學提出可能性的探討，包含從文學批評到文學詮釋學、從情志批評到情志箋釋學、箋釋的目標方法與妥效性等問題的反省、從情志箋釋學再到原志詮釋學。 本文的主旨在於將情志批評這套論述由文學批評的陣地，推闡擴充至涵蓋傳統人文學術領域的經典詮釋學的廣袤泛天地中，因而既從詮釋學的角度，將情志箋釋學從情志批評中獨立出來；復將情志箋釋學從文學的範圍擴大為適用於一切人文領域著作的原志詮釋學。

The Emotion-Intention Criticism has long been the main approach in Chinese classical literature criticism, on which Professor Kun-Yang Yen has fruitful discussion. Responding to Yen’s research, this article states not only his discourse, but also applies the classical hermeneutics to enrich the criticism theory. In order to clarify and intensify the academic context. The article has two main parts. In the first part, we look into Yen’s statements, including the two sub-types of Emotion-Intention Criticism, and the method and practice of it. In the second part, we use the classical hermeneutics as framework to look into Emotion-Intention Criticism. Besides investigating the possibilities of Hermeneutics of Emotion-Intention, with regards to its method and validity. In this study, we go through the process from literature criticism to literature hermeneutics, from Emotion-Intention Criticism to Hermeneutics of Emotion-Intention, and finally, from Hermeneutics of Emotion-Intention to Hermeneutics of Authorial Intention. The article intends to split Hermeneutics of Emotion-Intention from Emotion-Intention Criticism as a separate entity and can be amplified to apply to all humanities science works as a new aspect of Hermeneutics of Authorial Intention.