本文從本體和方法的，縱貫和平行的，邏輯的和類比的兩個方面全面檢討 船山天人之學在其詩學中的展開。作者推斷：船山詩學乃以克服其依存有論建立道德哲學的 困境為邏輯推動力，並且是朝向解決天道觀和心性論矛盾邁出的一步。文中提出：船山詩學 的「情景交融理論」，乃其性命之學的二運五實中天人、心物授受往來命題的延伸。而船山 詩學話語宇宙的語法，則由其易學抽繹而出：「情」、「景」間功能性協變的世界，及與其 以乾 / 坤，陰 / 陽等符號範疇所描述的宇宙樣態和秩序平行。由此，形上學對其他理論領 域所發生的兩方面的功能意義，分別構造了船山情景交融理論的「語義」和「語法」。二者 合而言之以肯認：人所參贊之道與由此道所開顯之世界，理應歸攝於一道。

　　　　　This essay is intended to examine how Wang Fu-chih's poetics expresses the basic concepts of his philosophy of man and nature. Through ontological and methodological, vertical and horizontal, logical and analogical considerations, the essay examines Wang Fu-chih's poetics in an all-round way. The author infers that the creation of Wang's poetics was logically impelled by the demand to overcome his intellectual dilemma caused by founding a moral philosophy upon a metaphysical theory. As a result, his poetics is one step toward the solution to the contradiction between his ontological theory and subjectivistic theory. The essay argues that the poetic theory of "the correlation of affection and scene" for Wang is no less than an extension of the central theme of his moral metaphysics--coming-and-going between the heavenly ordained and human nature, in the perpetaul cosmic dynamics. On the other hand, the grammar of Wang's discourse of poetics is derived from his interpreation of The Classic of Changes: the "functionally covariant world" consisting in affection and scene is parallel to the consmic order which he describes semiotically in terms of yin/yang, ch'ien (the creative)/k'un (the receptive). Thus, the two basic theoretical functions that a given metaphysical system can provide for other theoretical fields respectively constitute the "semantics" and "grammar" of Wang's poetics of "the correlation of affection and scene. "They combine to confirm that Tao in which mankind participates and the world which evolves out of Tao should be identical to and embraced in each other.