【作者】 叶晔；

【导师】 陈广宏；

【作者基本信息】 复旦大学 ， 中国古代文学， 2009， 博士

【摘要】 本篇论文的首要目的,是还原馆阁制度及其文化内涵下的中央士大夫文学,修正文学史上相对传统、保守、体现权力意志的僵化形象。避免文学主流被文学史叙述边缘化,还原其应有的文学地位;避免作家作品被文学史概念模式化,强调社会各阶层之间的文学元素的流动,进而挖掘其多维度的文学意义。第一章重点论述明代翰林院制度与文学的关系,考察国家如何通过翰林院的职掌,来有效地掌控中央文学权力。首先,介绍翰林院作为中央文化机构的诸多职能,强调政治空间中的应用型文学,从而将文学纳入政府体制的范畴。主要表现为规范诏诰表笺的格式,推进行政公文改革;借经筵、顾问二事,塑造帝王的文学观念,引导帝王的文学旨趣;主持两京乡试及会试,矫正中央科场文风,形成由上及下的普泛影响;通过《元史》、《实录》的编纂,掌握历史话语权,明确官方文学态度,为作家的文学行为定论。其次,介绍翰林官员作为文学侍从的诸多职掌,探讨政治空间中应制型文学的泛文化功用。根据创作主动性的差异,分应制、进呈两大类型,论述各自的功能、心态及历时发展变化;根据制度背景的差异,分朝贡献纳、祥瑞呈报、节候赐观、扈从游幸、礼制仪用、启导规诫六种类型,详细考察各类主题的创作情况和文化意义,以及非馆阁文人对这一非职掌范围内的文学形态的态度。最后,介绍翰林院的文风导向功能,突出馆阁内部诗文体式的“正”与“变”,强调“台阁体”、“馆阁体”、“翰林体”三者的细微区别,介绍万历以后翰林官员发起的“文归馆阁”运动。又以馆阁博洽学风为例,挖掘其丰富内涵,探讨馆阁、山林两种不同源的学术风气是如何互动的。第二章重点论述明代庶吉士制度与文学的关系,考察国家如何通过庶吉士的培养,在翰林院基层建立一套官方文学标准。首先,介绍庶吉士馆选制度,挖掘其中潜在的文学元素及影响。作为政治家与文学家共有的荣耀之路,新科进士对馆选一事趋之若鹜,体现出强烈的翰林情结。由此产生馆阁认同感,而对非正统出身的“野翰林”和贬外自放的“谪翰林”持明显的文学非我态度。其次,明代庶吉士教习先后以《文章正宗》、《唐音》、《唐诗正声》为范本,对馆阁文章学、诗学传统的巩固和延续,起着至关重要的作用;而作为教习权力掌控者的阁师与馆师,也从士大夫修养、知识结构、泛文学、纯文学四个层面对当科庶吉士进行导正,其个人作用不容忽视。最后,庶吉士教习过程中的阁试和馆课,专习古文辞、唐诗,与科举制度的八股文体系迥然有异。通过不同文章体类的学习,为官方文学作文体功能上的区分和定位;通过不同诗歌套式的学习,从帝王、政治、文学三个层面依次规范,以确立标准化的官方文学思想及风格。而在馆阁之外,整个社会对庶吉士馆课的真实看法,以及它是否存在文学史价值,也有必然作一考察。第三章以同馆、同曹、同年、同乡为四条主线,以线代面,考察明代三百年来京城的士大夫诗文集会活动,提出明代馆阁、郎署、山林三层文学结构的理论。首先,对明代馆阁雅集的发生场景作政治空间、公共空间、私人空间上的区别,并根据制度背景分为斋宿唱和、宿直唱和、院闱唱和、史馆唱和、到任赋诗、例赠赋诗、节会唱和、赏花题咏、瀛洲雅会九种类型,透过京城诗会的大环境变化,来看明代馆阁作家的身份转化与文柄旁落。其次,考察明代郎署机构的文学发生环境,勾勒出成化以后逐步形成的刑部文学传统。以两京郎署诗会的发展为线索,描绘出一个文学权力不断分化、文学重心阶段性下落的动态过程。借郎署诗会的去馆阁化,表现馆阁与郎署的互动,借南曹诗会的去政治化,表现郎署与城市、山林的互动。然后,考察明代京师同年会的制度背景,勾勒出明代同年会的举办流程,再现当时官员们的宴会唱和场景,在此基础上,探讨作家之间的同年身份对明代文学流派的形成与发展所产生的影响。最后,分别介绍同乡会的常态模式和特殊模式,并以安福、苏州两个京城同乡会为个案,展现地域文学对中央士大夫文学的上行冲击,再结合馆阁及地方上的耆老会传统,反映中央士大夫文学对地域文学的下行渗透。第四章选取辞赋、四六文、箴体、连珠、乐章体词曲五种纯文学的文体样式,考察它们在明代馆阁背景下的历时发展趋势。既在“政”、“道”思维模式下固守儒家文学本位,又展现出多方面的功能创新特征。首先,以明代馆阁赋为例,探究政治空间中士大夫对文学作品的理解和书写,与一般公共空间、私人空间的不同,特别是“文以载道”的观念,如何以馆阁文体为中介,建构起多层次的官方文学秩序。其次,馆阁应用文学、应制文学的兴衰,对明代四六文的发展有着深远的影响,馆阁四六曾因明初公文改革的去骈策略而销声匿迹,又因嘉靖年间的青词风气而率先崛起,进而通过对其它文体的侵蚀,逐步向社会下层及私人空间拓展。然后,以箴体、连珠二种规诫类文体为个案,考察馆阁文体中传统规谏功能的本位固守及变异,以及在非馆阁思维影响下所产生的功能突破及私人化倾向。最后,从礼乐制度切入,结合礼部、翰林院等中央文化机构的职掌,考察明代各类官方礼仪中乐章、乐歌的创作及文体变化,重现乐章这一被忽略的文学样式在明代的发展历程,进而探讨其对宋元以来兴起的词、曲等俗文学文体的借鉴与改造意义。更多还原

【Abstract】 The most important purpose of this thesis is to considerably restore the original mainstream scholar-bureaucrat literature under official academy system and its literature effect, as well as to modify the constant image of such literature, which has been recognized as relatively tranditional, conservative and along with politic authority purpose. In addition, the thesis also includes: to avoid the marginalization of the mainstream literature and the conceptualization of the works of typical authors by the narration of the today’s literature history. The interaction among literature elements from different society levels is also emphasized in this thesis to further reveal the real value of the tranditional scholar-bureaucrat literature.Chapter one emphasizes on the relationship between the imperial academy system and the literature of the Ming dynasty, and explores how the government effectively controlled the discourse power of literary with the support from the imperial academy. Firstly, the author introduces several functions of the imperial academy, considered as an official culture agency accordingly. The author also pays special attention on the practical literature which was created in the political space, in order to explain why the literature can be controlled by the government. With the aids from the creation of the formal literary forms such as Zhao, Gao, Biao and Jian, the imperial academy urged on the public documents reformation; with the Jingyan and Guwen(two kinds of official literary functions for emperor), the imperial academy can effectively set up the emperor’s conception of literature and guided his interest on the literature; with the holding of the Xiangshi and Huishi(two kinds of official examinations), the imperial academy changed the general mood of the imperial exams and had a great impact on the whole society; Compiling of Yuan Shi and Shi Lu(two kind of history records), the imperial academy controlled the discourse power of history, made clear the attitudes of the government towards literature, and gave conclusions on the actions of some writers. Secondly, the author introduces the duties of officials who are considered as literary servants in imperial academy, and probes into the pan-cultural function of official literature that represented imperial demand. According to the difference of writers’ initiative, the author not only divides the works into two types - Yingzhi(demand from emperor) and Jincheng(submit actively), but also discusses the functions, mentalities and development respectively. According to the difference of institutional system-related backgrounds, the author classifies the works into six types: paying tributes to the emperor, announcing auspicious signs to the emperor, allowing to visit by the emperor during festivals, following the emperor to go out, romancing the atmosphere of official ceremonies, and the advise to the emperor; explores the composed status and cultural meaning of every work type, and then investigates the attitudes of the scholars who are not officials in imperial academy towards these work types in detail. At last, the author introduces the directive function of imperial academy literature; emphasizes on the Zheng (formal) and Bian (change) of the scholar-bureaucrat literature in the imperial academy system as well as the subtle difference among Taige style, Guange style and Hanlin Style. The author also introduces the action of Wen Gui Guan Ge(the discourse power of literary return to the imperial academy). Taking the extensive learning (one character of the scholar-bureaucrat literature) as an example, the author further discusses how the official and non-official literature interacted each other.The key point of the second chapter is the discussion about the relationship between Hanlin Bachelor system and the literature of Ming dynasty. By training up Hanlin bachelors, the government successfully set up a series of official literary standards within imperial academy at basic level. Firstly, the author introduces the Hanlin bachelors selection and its potential literary impact on the society. Newly-became imperial scholars, with an extremely special mind to be members of the imperial academy, were very active in the Hanlin bachelor selection, because the imperial academy gave them the honor of being a politician as well as a writer simultaneously. The members of the imperial academy were so proud of self-identification as a deputy of official literature, while they apparently discriminated Ye Hanlin (Hanlin officials who were not imperial scholars before being selected) and Zhe Hanlin (Hanlin officials who were withdraw from the imperial academy). Secondly, in Ming dynasty, Wen Zhang Zheng Zhong, Tang Yin and Tang Shi Zheng Sheng were chronologically taken as official templates for teaching Hanlin Bachelors, so that the tradition of poetics and imperial essay were continued and strengthened. Geshi and Guanshi, who worked as instructors in imperial academy, played a very important role in training newly-became Hanlin bachelors, they guided newly-became Hanlin bachelors on scholar-bureaucrat culture, configuration of knowledge, pan-literature and belles-lettres. At last, during Geshi and Guanke (official exams and lessons in the imperial academy) the traditional articles and Tang poems were focused on, which was extremely different from the focus of Bagu Essay (eight - part essay) in imperial examination. By learning the different forms of writing, Hanlin bachelors made clear conception about the function of each literature form and the differences between them; by learning the different routines of poem and using the standards of emperor, politics and literature, Hanlin bachelors regulated the idea and style of the official literature. On the other hand, the author also pays attention to the topic that how the common people felt about the training of Hanlin bachelor, by discussing whether the training of Hanlin bachelor were valuable in literature history.In chapter three, following four primary lines-Tongguan (scholars that worked in the imperial academy), Tongcao (scholars that worked in the same government department), Tongnian (scholars that passed the entrance exam in same year) and Tongxiang (scholars from the same county), the author makes a review of the gathering for poem-writing among scholar-bureaucrats in capital, and brings up the idea that literature in Ming dynasty can be classified into three categories—Guange (imperial academy), Langshu (government department) and Shanlin (countryside) literature. Firstly, according to the difference of the gathering scene, the author divids the gatherings of imperial academy into three types—political space, public space, private space. Then the author separated these gatherings into nine types according to the institutional system background-Zhaisu Changhe (held on the eve of ceremonies), Suzhi Changhe (held among the officials that on duty by night), Yuanwei Changhe (held in official examinations among the supervisors), Shiguan Changhe (when write and compile historical works), Daoren Changhe (when Newly-became get into the imperial academy), Lizeng Changhe(when official have to leave his post), Jiehui Changhe (when festival arrives), Shanghua Tiyong (when appreciate the flower) and Yingzhou Yahui (held in Nanjing by the officials who were in imperial academy). As the situation of the poem gatherings in capital changes, we can clearly find that the identification and authority of the official scholars change correspondently. Secondly, the author explores which kind of environment the government literature of Ming dynasty took place in, and describes the tradition of Board of Punishment literature, which formed after Chenghua period. Taking the development of Liangjing Langshu poem gathering (gatherings holding in government department of Beijing and Nanjing) as a clue, the author depicts such dynamic process where Ming dynasty power of literature are continuously scattered, and mainstream literature drops down as time going. Based on the fact that the poem gathering holding in government got rid of the atmosphere of imperial academy, the thesis shows that the government department literature are related with imperial academy literature; According to the fact that the government poem gathering in Nanjing got rid of the political atmosphere, the thesis also shows that the government department literature are related with city and countryside literature. Thirdly, the author also takes a look at the backgrounds of Tongnian gathering in capital (gathering holding by the scholars that passed the entrance exam in the same year), and reset the scene of this typical gathering. The thesis studies the important impact of the Tongnian factor on their choice of literary groups and development. At last, the author introduces the normal and special form of the Tongxiang gathering (scholars from the same county). Taking Anfu and Suzhou Tongxiang gathering as two examples, the author shows that the development of local literature gives a great concussion on the central (official) literature at that time. On the other hand, takes the tradition of old-intellectual-gathering in both imperial academy and local as an opposite example, shows us that the central (official) literature affected local literature at the same time.In chapter four, the author selects five literary forms of belles-letters (Fu, Siliu Wen, Zhenti, Lianzhu and Yuanzhangti Sanqu) and explores their trends under the backgrounds of imperial academy of Ming dynasty. On the one hand, with belief in Zheng (politics) and Dao (moral), these articles firmly followed the Confucianism, on the other hand, they also updated themselves in many aspects. Firstly, taking Guange Fu (one kind of literary forms) of Ming dynasty as example, the author discusses why the articles written under the political space are very different from those written under public space and private space. Through the agency of the imperial academy literary forms, the concept of "Wen Yi Zai Dao" (articles are expressions of moral) helped to build the order of the official literature. Secondly, the change of practical literature and Yingzhi literature in imperial academy has had great impact on the development of Siliu Wen of Ming dynasty. Siliu Wen disappeared in the early period of Ming dynasty because of some policies of government, and rose again together with Qingci in Jiajing period of Ming dynasty, gradually affected other literature forms as well as private space. Thirdly, the author also takes Zhenti and Lianzhu (two kinds of literary forms, aim at persuading people) as examples to explain how the persuading function adhere and mutate in these official literature forms, and how these forms breakthrough themselves under the impact of non-official thinking and trend to be private. At last, starting from the system of rites and music, and combining with the duties of Board of Rites and imperial academy, the author explores how the writing methods and forms of Yuezhang and Yuege change in the etiquette of Ming dynasty. The author wants to make the history of Yuezhang—which has been neglected for a long time—reappeared, and further discusses how this form used for reference and altered popular literature Ci and Qu,—which are prosperous after Song and Yuan dynasty.更多还原