《诗经》评点研究

【作者】 张洪海；

【导师】 黄霖；

【作者基本信息】 复旦大学 ， 中国文学批评史， 2008， 博士

【摘要】 《诗经》的传统解读方式是注疏,属于经学的范畴。《诗经》的经学研究虽然主导了古代《诗经》研究两千多年,却很少涉及诗的文学内涵。这一局面到了晚明《诗经》文学评点的出现被稍稍打破,从此在《诗经》的研究中,文学的阐释也成为了一股不可忽视的力量。《诗经》的文学评点是《诗经》研究史上的重要现象,是对《诗经》全面而系统的文学解读。本文把《诗经》文学评点作为一个整体,在全面挖掘与整理文献的基础上,从纵向和横向两个向度针对三十二位评点者的评本展开论述。全文共分五章。第一章:《诗经》评点本概述。主要讨论两个问题:一、对文学评点的体例进行界说,纠正把脱离《诗经》文本的评论当作《诗经》评点的宽泛意见。二、总结《诗经》评点的三种来源,即原创评点、转录评点、嫁接评点。第二章:《诗经》评点发生论。首先探讨了《诗经》评点出现之前传统《诗经》学的主要弊端和不足,然后主要从三个方面论述了《诗经》评点产生的条件以及相关因素,即思想条件、科举、与出版印刷的进步。继而对这几种因素的相互联系作了简略说明。第三章:明代《诗经》评点。本章是对明代各家《诗经》评点的考论,主要就评点本的版本、撰写及刊刻的情况、各评本之间的相互联系或影响、评点的主要内容及特点等方面进行。前三节以刊刻时间先后为序介绍了安世凤、孙鑛、黄廷鹄、钟惺、戴君恩的《诗经》评点情况。他们从文学的角度解读《诗经》,开《诗经》之文学评点风气。后两节分别以不同的评点内容及形式特点对其余评点者及其著作分成两类进行介绍。一种为徐奋鹏的《毛诗捷渡》及陈组绶的《诗经副墨》,这两种在著作内容和形式上都有明显的科举用书性质。另一种为凌濛初的《言诗翼》、张元芳和魏浣初的《毛诗振雅》、陈鸿谟的《诗经治乱始末注疏合抄》、徐奋鹏的《诗经删补》,这一类著作在性质上都属于转录和嫁接评点,具有辑评的形式特点。第四章:清代《诗经》评点。第一节论及清代初期(乾隆之前)出现的两种《诗经》评点本:储欣和何焯的《诗经》评点。第二、第三、第四节大致以评者时间先后论述了牛运震(附及牛运震《诗志》的转录本——李九华的《诗经评注》)、陈继揆、邓翔等人的《诗经》评点。第五节论述被学界目为“独立派”《诗》学研究的《诗经通论》与《诗经原始》。因当代对于两书作者姚际恒与方玉润研究较多,故只就其评点部分做一简单介绍,评点之外的文字不再涉及。第六节论述了桐城派诸人对于《诗经》的评点情况,涉及方苞、刘大櫆、姚鼐、曾国藩、吴汝纶、吴闿生等人。因诸人评点成绩不同,故论述有详有略。第七、第八两节论述了徐与乔、孙凤城、王晋汾、祝起壮、何道生等人及两无名氏的《诗经》的辑评情况。其中以徐与乔和孙凤城为主,其余则作了简单提要。第五章:《诗经》评点方法。本章讨论了《诗经》评点的六种批评法,分别是:一、历史批评;二、比较批评;三、形象批评;四、本事批评;五、引申批评;六、诗法批评。这是对于《诗经》评点所作规律性的总结。余论部分:就《诗经》评点的价值及其缺点进行了阐述。更多还原

【Abstract】 The traditional interpretational way Of "Book of Songs" is Subcommentary interpretation,which belongs to the scope of the Jing-study."Although Jing-study dominated the ancient study of "Book of Songs" for more than 2,000 years,but rarely touches on poetry literary connotations.This situation was not been slightly broken by the emergence of literary comment of "Book of Songs" until to the late Ming Dynasty, when the interpretation of literature has become a force that can not be overlooked. The literary Comment on "Book of Songs" is comprehensive and systematic interpretation of literature about the "Book of Songs" and the important phenomenon on the history of the study of "Book of Songs".In this paper,Literature comment on the "Book of Songs" is studied as a whole from the vertical and horizontal dimensions for the 32 commentors on the basis of a comprehensive mining and finishing the literature.The full text is divided into five chapters.Chapter 1:The overview on "Book of Songs" Comment.Mainly on two issues:First, explain the definition of the style of literature for comment,correcting the broad views which the commentary without the text of"Book of Songs" is also Comment on "Book of Songs".Second,review the "Book of Songs" Comment on the three sources, namely original comment,transcription comment,grafting comment.ChapterⅡ:On the appearance of "Book of Songs" comment.First on the main disadvantages and shortcomings of the traditional comment of "Book of Songs" to the "Book of Songs" comment,and then discusses three aspects of "The Book of Songs" Comment on the conditions and related factors,that is,ideological conditions,the imperial examination,and publishing and printing progress.Then this several interrelated factors made abrief note.Chapter 3:"Book of Songs" Comment in Ming Dynasty.This chapter is on each "Book of Songs" Critique in the Ming Dynasty,concluding the Study of the version,written and publishing situation,the assessment of the linkages between each version or influence about the contents and characteristics of the main aspects.The first three quarters introduced the situation on AN Shi Feng,Sun Kuang,Huang Tinghu, Zhong Xing,and Dai Junen’s "Book of Songs" Comment in chronological order.They read "The Book of Songs" from the perspective of literature and open the atmosphere of "Book of Songs" Literature comment.In the last two part,the remaining commentors and their works were divided into two categories and introduced according to different characteristics on the content and format.These books are Xu Fenpeng’s "Mao Shi Direct Crossing" and Chen Zushou’s "Assistence of the Book of Songs", which was marked with the imperial examination of the nature in both content and form.Ling Mengchu’s "Poems wing",Zhang Yuanfang and Wei Huanchu’s "Mao Shi Zhen-Ya," Chen Hongmo’s "Subcommentary story of the Book of Songs chaos copied," Xu Fenpeng’s "Book of Songs censored meeting".Their type is in the nature of transcription and grafting comment,so they have the features of the form of a series commentary.Chapter 4:"The Book of Songs" comment in Qing Dynasty.SectionⅠdiscussed the two version of "Book of Songs" Comment in the early Qing Dynasty(Qianlong before),which are Chu Xin and Ho Chuo’s "Book of Songs" comment.The second,the third,and the fourth section has discussed Niu Yunzhen(and Li Jiuhua "commentary Book of Songs" which transcripts from Niu),Chenjikui,Deng Xiang’s "Book of Songs" Comment.SectionⅤdiscussed "Book of Songs-On" and "The Book of Songs primitive",which was looked as "pro-independence" study by the academic.Besides, Hu Bicheng’ comment is also discussed.The two books and the authors,Yao Jiheng and Fang Yurun,have been stydied by contemporary authors,so here I only do a simple comment on their part,no comment beyond the text involved.Sevral commentors of Tongcheng School were discussed inⅥ.These "Book of Songs" Commentors involve Fang Bao,Liu Dakui,Yao Nai,Zeng Guofan,Wu Rulun,Wu Kaishen,and others.Because of different results,it is discussed in detail or slightly.The seventh and the eighth part is on Xu Yuqiao,Sun Fengcheng,Wang Jinfen,Zhu Qizhuang,He Daosheng and other two Anonymous’ "Book of Songs" Comment series.Among them,Xu Yuqiao and Sun Fengchen are discussed in detail,and the rest were made simple outline.Chapter 5:The critical means in "The Book of Songs" Comment.This chapter discusses the six critical means in "The Book of Songs" Comment,which are:history criticism,comparing criticism,imaginational criticism,capable criticism, extendal criticism,poetry-mean criticism.This is the conclude of the laws of "The Book of Songs" comment.On the last part,the value and shortcomings of the "Book of Songs" Comment is described.更多还原