詩六義（風、雅、頌、賦、比、興）一直是中國古典詩歌美學中的重要概念，其中，「興」更是一枝獨秀地成為「中國詩學的核心範疇」。由於歷代對於「興」的見解眾說紛紜，而且「興」是中國詩歌有別於西方詩歌的重要觀念，因而本文希望藉由歸納分析歷代諸說，勾勒興的完整面貌與意義。本文主要從以下四個層面探究興的結構與意義：一、「興」所跨越的諸種範疇：音樂、宗教、文學等不同領域。二、興作為「詩之法」的基本形式與結構。三、興的結構元素：「景物」與「詩歌主題」的關係與性質。四、從「創作源起」確定興的整體作用與意義。透過上述的討論，希冀能夠從古今諸家的論點中，為「興」勾勒出一個基本輪廓，並從其內在思維與深層意義上，確定興在一首詩中的整體作用與意義

Feng, ya, song, fu, bi, and xing (風、雅頌、賦、比、興) have always been concepts of great consequence in Chinese classical poetry and aesthetics. Among these concepts, xing is especially important. Because interpretations of xing differ, and because it is more prominent in the Chinese tradition than the western one, this article seeks to construct a complete outline of the significance of xing based on an historical analysis of the term. In the article, we discuss four key aspects of the structure and meaning of xing: first, the various categories covered by xing, such as music, religion and literature; second, the fundamental form and structure of xing in poetic method; third, the structural elements of xing, particularly regarding the relationship between, and the characteristics of, “scenery” and the “poetic subject;” and fourth, the determination of the complete function and significance of xing with regards to the creative origin. Through this analysis, we hope to construct a basic outline of xing, and provide a more comprehensive understanding of the function and meaning of xing in classical poetry.