詩是語言的藝術，詩的表現與作用與其使用的語言有密切的關係。中國詩學自古以來即「獨標興體」，「興」做為中國詩學的核心概念，之所以能具有中介審美與教化的特殊作用，顯然也應與它所使用的漢語與漢字的語言形態有極大的關係。本文將從劉勰的「比興說」出發，進而透過在語言哲學中有關語言世界觀差異性的討論，說明「興」的「引譬連類」、「託事言志」等語言藝術，是如何建立在「語言類推的感受挪用」之上，從而能產生審美與教化的效應。透過漢語與漢字之語言哲學的闡釋進路，本文將說明「賦、比、興」之美感生成作用的差異性，以及能為詩的藝術建構「興象」的美學感受性，如何能從藝術審美的領域跨入社會教化的範疇。本文最終將透過說明，以興為核心的詩學，既是一種在原語言學中開顯真實世界的「詩興存有論」，又是一種透過真理之解蔽而建構人我共通感的「詩學倫理學」，以能為中國詩學之「抒情」與「詩教」兩大傳統，建構重新加以整合的理論基礎。

Poetry is art of language, and its expression and function are closely related to the language it uses. As the central concept of Chinese poetics, xing has a special role in mediating aesthetics and edification, which is obviously related to the linguistic form of the Chinese language and characters used in poetry. In this article, I will start from Liu's “Bi-xing theory” and explain how the linguistic art of xing is based on “cognitive appropriation of linguistic analogies,” which can have aesthetic and edifying effects. If this article can finally show that the poetics centered on xing is both poetic ontology that reveals the real world in the original linguistics and poetic ethics that can construct a common sense for human interaction, and then the two traditions of Chinese poetics, lyricism and poetic edification, will have a theoretical basis for reintegration