本文自「走出經學中心」的學術史進路切入錢鍾書《管錐編．毛詩正義》，揭櫫錢氏從「以經解經」到「以詩解《詩》」的經典重構命題。整合地評述其藉溯本六義而形成「《詩》之為詩」的文本觀，以「詩藝」解《詩》的詮釋策略，以及辨析「含蓄－寄託」、「取足於己－別求外物」而高舉的「尊本文，首含蓄」之詮釋實踐。從而澄清看似零碎的札記，其實隱含如何在經學衰落時代藉文學重新昂揚《詩經》之經典地位的學術使命，並以「考史－說教－談藝」為框架，指出其有別於考證家與經學家的獨特《詩經》詮釋史定位

To fully understand Qian Zhongshu's Limited Views: The Rectified Interpretation of Mao's Book of Songs (＂Limited Views＂), this paper deviates from the traditional Classics-centric approach, in order to demonstrate how Qian Zhongshu accomplished the reconstruction of the Classics, going from the ＂interpretion of the Book of Songs with the Classics＂ (yi jing jie jing 以經解經) to the ＂interpretion of the Book of Songs with poetics＂ (yi shi jie Shi 以詩解《詩》). This paper comprehensively reviews Qian Zhongshu's interpretive strategies about the Book of Songs, including ＂consideration of the Book of Songs as a normal collection of poems＂ (Shi zhi wei shi《詩》之為詩) by tracing back to 'the six principles' (liuyi 六義) and ＂interpretation the Book of Songs by referencing the 'Arts of Poetry' (shiyi 詩藝).＂ Qian Zhongshu's hermeneutical practice also includes the distinction between ＂implicitness＂ (hanxu 含蓄) and ＂affective image and inner sustenance,＂ (xingji 興寄) between ＂only relying on the texts＂ (qu zu yu ji 取足於己) and ＂drawing from outside the texts＂ (bie qiu wai wu 別求外物), so as to ＂respect the texts yet still put the primary focus on 'implicitness'.＂ The contribution of this paper is that it makes sense of the seemingly fragmentary notes in Qian Zhongshu's Limited Views. More importantly, this paper intends to re-establish the status of the Book of Songs as a classic from the perspective of literature, in the era of decline of ＂the studies of Confucian Classics＂ (jingxue 經學). Using ＂historical research-moral education-art appreciation＂ as the framework, it points out that Qian Zhongshu's hermeneutical approach towards the Book of Songs is distinctively different from those of evidential scholars and Confucian scholars