本文努力整合麦克卢汉的“媒介即讯息”等媒介理论,对“诗言志”背后所隐含的理论潜质特别是对其意义生产机制进行现代关照和阐发。由于在其最初的原始语境当中,“诗乐舞”三位一体的存在确保其意义能够从声音、动作等多个层面进行自我呈现,而随着“诗乐舞”三位一体的解构与坍塌,“乐舞”已经逐渐退隐,唯留“诗”在,由于媒介的缺损,“诗乐舞”源初的意义就不可能完全自我澄明,因而这就为后来经学解读时意义的强加提供了一种可能。 This article tries hard to integrate McLuhan ’s “media ie information ” and other media theories to modernize and elucidate the theoretical potentials hidden behind “poetry and speech”, especially its meaning production mechanism. Because of its original original context, the existence of the Trinity of “poetry, music and dance” ensures that its meaning can be self-presented in many aspects such as sound and movement. With the deconstruction and collapse of the Trinity in poetry and dance, Because of the lack of media, the meaning of the origin of “poetic music and dance” can not be completely self-clarifying, so this is the meaning of later interpretation of Confucian classics Imposing provides a possibility.