本文引入「戲劇性獨白」這一概念，論證〈古詩十九首〉係一兼具言說與書寫二重性或過渡性的「紙上言談」或「書寫聲音」。以此為基點，文章集中討論了高友工所謂「內省詩」的「自我」和「當下」兩個方面。文中提出：由〈古詩十九首〉「書寫聲音」的雙重性，其「自我」應重新界定為一貫通個體問情感的「自我」，並由此導致作品中個體情感之「象徵化」同時亦為普世情感之戲劇化。而「內省」中的當下之感，其實亦無不盤來攫去於累積之情思之中。故詩作非以取境、而主要以文勢和涵泳見長。其中，「感物」特別支援了當下之感與累積之情的結合。本文重新界定「感物」為一涉及特定主題、情感、季候、意象的夜晚或黃昏悲歌的題旨。其所感的是人無時不被浸潤的的氛圍，而非佇目一時的光景，故得與表現持續累積悲哀的詩旨契合。所有上述二重性皆顯示：〈古詩十九首〉恰處於中國文化史上一「變而未變之局」的門檻上。最後，本文發揮「氣類感應」概念，對〈十九首〉「未變」的一端作文化詮釋，彰顯〈十九首〉對觀察晉宋以後詩風轉變對照坐標的意義，彰顯詩學與思想發展的內在關聯。

By introducing the concept of “lyric dramatic monologue,” this article defines “The Nineteen Old Poems” as a transitional genre of “talk on paper” or “printed voice” possessing both oral and written characteristics. Based on this observation, the article concentrates its discussion on the terms “self” and “present” that Professor Yukung Kao treated as two major elements of so-called “reflexive poetry.” In terms of the double nature of the “printed voice,” however, the “self” in “The Nineteen Old Poems” should be re-defined as a trans-individual self who makes the symbolization of personal feeling simultaneously a dramatization of universal feeling. By the same token, the feeling of the “present” here is also involved in a sentiment of durable, continuous time. The lyric concept “stirring-and-response” (ganwu) particularly supports the combination of these two feelings. The article redefines “stirring-andresponse” as a sad mood for a sort of vespertinal or nocturnal song which refers to some specific theme, emotion, season and images. What a poet is stirred by in “stirring-and-response” is not a focal scene brightly lit under the sunshine of a moment, but rather a comprehensive atmosphere which immerses him. Hence, the stirring at “present” could be combined with sentiment about durable, continuous time through “stirring-and-response.” All these combining or double characteristics indicate that “The Nineteen Old Poems” represent a transitional genre between the public and the private, or oral and written poetry. Finally, the article gives full play to the poetics of “affection of breath in the organic universe,” to give a cultural interpretation of the unchanged part of “The Nineteen Old Poems.” This interpretation highlights the poems’ unique significance when observing the real breakthrough of Chinese poetry during the Jin-Song period and the internal connection between the development of poetics and intellectual history.