《左传》文学论稿

【作者】 李永祥；

【导师】 魏耕原；

【作者基本信息】 陕西师范大学 ， 中国古代文学， 2010， 博士

【摘要】 《左传》不仅是一部史学著作,而且是一部文学著作。春秋时期,在人本主义和艺术觉醒思潮的推动之下,春秋文学也开始自觉,并微波泛起,渐成浪涛之势。《左传》作者左丘明生活于春秋末期,受此文学自觉风气的熏染,加之其灵府之文学聪慧天性,在叙写春秋史时,实录之外而饰以文笔,将一部史学著作写得妙趣横生、滋味无穷,具有浓郁的文学性。学者对《左传》之文学性的关注远迟于对其史学性的关注,直到唐代刘知几才发显《左传》的文学价值,并对《左传》的叙事艺术作出高度评价。此后,陈骙《文则》、吴闿生《左传微》、冯李骅《左绣》、章学诚《文史通义》、刘熙载《艺概·文概》等也从不同方面对《左传》之文学性进行阐述。今人在此基础上,开始对《左传》之文学性进行全面研究,呈风起云涌之势。在古人今人研究的基础上,我们汲取营养,试图补苴罅漏,光大《左传》之文学价值,写成《<左传>文学论稿》,以呈方家斧正。本文从以下几个方面对《左传》的文学性进行论述。绪论部分主要描述近三十年来学者对《左传》之文学性的研究状况,指呈其成功及不足之处,为本文研究预设方向和铺设道路。第一章为“春秋时期人的觉醒和文的觉醒”,分三节论述。第一节论述了春秋时期人的觉醒。春秋霸主如齐桓公、秦穆公、晋文公、楚庄王、吴王阖庐,越王勾践等崇尚德义,重用贤才,体恤下民,成就霸业；士大夫民本思想尤为浓厚,认为“夫民,神之主也”,重人事而轻鬼神,反对人牲,反对殉葬,管仲、季梁、史嚚、师旷、司马子鱼、臧武仲、孔子等是其代表。第二节论述了在人的觉醒的背景下艺术渐次觉醒。青铜器的造型和纹饰由庄重肃穆转向轻脱活泼,铜器铭文由崇高肃毅转向体势疏朗,春秋前中期的青铜器工艺品莲鹤方壶“象征着一个新的精神、一个自由解放的时代”(宗白华语)。鲁隐公“矢鱼于棠”,鲁庄公“丹桓公之楹,刻其桷”,并“如齐观社”。晋平公“说新声”。如此等等,均可作为春秋时期艺术觉醒的明证。第三节论述在人的觉醒和艺术觉醒的催动之下,文学也开始觉醒。为了确立“春秋文学自觉说”,就必须回应“魏晋文学自觉说”和“汉代文学自觉说”。日本铃木虎雄提出“魏晋文学自觉说”,后由鲁迅、李泽厚、袁行霈等先生的提倡,大有风靡天下之势,后来在龚克昌、张少康、詹福瑞、李炳海、赵敏俐等先生的商榷之下,“汉代文学自觉说”取代了“魏晋文学自觉说”。然而“汉代文学自觉说”亦有其偏颇之处,因为她忽视鲜活灵动的先秦文学。《周易·系辞下》曰：“夫易,……其旨远,其辞文,其言曲而中,其事肆而隐。”《礼记·少仪》曰：“言语之美,穆穆皇皇。”《左传·成公十四年》：“故君子曰：《春秋》之称,微而显,志而晦,婉而成章,尽而不汗,惩恶而劝善。”《襄公二十五年》引孔子曰：“《志》有之：‘言以足志,文以足言。’不言,谁知其志?言之无文,行而不远。”由此可见,早在“六经”的写作中,就已经有了审美意识的追求,这其中尤以《诗经》的写作最为明显。《诗经》大小雅的创作,整齐的四言句式,严格的押韵规则,词语的雕琢绘饰,章法的细密安排,风格的典雅庄重,已经达到了高度的艺术性。春秋士大夫赋诗言志,论谏的深美,外交辞令的温婉华丽,刘知几《史通》称《左传》“或腴辞润简牍,或美句入咏歌”,冯李骅《左绣》称其“近《庄》《列》诡谲之风,启战国纵横之习”,章学诚《文史通义》称“左丘明,古文之祖也”,刘熙载《艺概·文概》称其“板者活之,枯者腴之”,章炳麟称其“深美”,钱钟书称其“有意为文”,均可证明《左传》的文学自觉。第二章为《左传》之文心,分五节进行论述。第一节论述《左传》的叙事艺术,主要结合西方叙事学理论来关注《左传》的叙事艺术,论述了《左传》的二元对立的叙事艺术、“核心”与“卫星”的叙事艺术、全知与限知的叙事艺术和契约型叙事模式,目的在于昭示,中国的叙事艺术早就暗合了西方叙事理论,西方叙事理论家所推崇的叙事技巧在中国叙事的历史长河中并非什么新浪花。第二节论述《左传》之写人艺术,主要从遗形取神、在历史事件动态发展中刻画人物形象、以细节描写来刻画人物形象和夸张的写人艺术等方面阐述《左传》写人技巧,并指示出其写人艺术手法对后世文学的深刻影响。第三节论述《左传》的论谏及行人辞令,主要从“论”之深美、“谏”之亢直、外交辞令之婉切等方面论述《左传》论谏及行人辞令的特色。第四节从“立意”和“辞章”两大方面论述了《左传》义法对韩愈古文的影响,其“一义贯之”、“虚实相间”、“插笔”和“反对”的笔法对韩愈古文的影响尤为深刻,从而彰显《左传》义法与韩愈古文义法之间的薪火相传关系。第五节将《左传》与《尚书》、《诗经》联系起来,探讨其比喻发展演变的轨迹及先秦时期比喻义例的形成。第三章在春秋文学自觉的前提下,具体论证了《左传》与《诗经》密切关系。《诗经》在春秋时期广为流布,为当时家弦户诵之书,各国公卿大夫士赋诗言志,或引诗析理,或解诗达意,《诗》的流行鼓荡着春秋儒雅的风流韵致。《左传》正是依据《诗经》的礼乐文化标准展开春秋风云画卷：写情图貌,辨言析理,惩恶劝善,案断折狱。《诗经》成为左氏写《左传》的灵心妙手的源泉,是左氏灵魂跳荡的舞台。第一节论述《左传》赋诗习俗的渊源及其文学意义,第二节论述《左传》引诗析理的案断功用,第三节论述《左传》解诗及其对后世解诗的影响,从而发显《左传》之诗心。第四章论述《左传》之战心,第一节论述了《左传》之崇霸尚战、以礼宣战、以德助战及儒家别派的战争思想,在此基础上讨论了《左传》的军事思想与《孙子兵法》的相通和不同之处,指出他们在慎战悯生、知己知彼百战不殆、上兵伐谋其下攻城、兵者诡道、激水漂石、半济而击、攻其无备出其不意等方面的相通性,并指出《孙子兵法》有较多的朴素唯物主义思想,而《左传》则多唯心主义思想,左氏之军事思想多温厚重义,孙武之军事思想多诡诈重利,从而显示二者的不同之处。第三节主要从详写战前谋划、略写战争过程及左氏写正面战场多用谐趣笔致、使战斗饶有趣味、淡化读者对血腥厮杀的恐惧等方面论述《左传》之战争描写艺术及其对《三国演义》《水浒传》之影响。第五章论述《左传》之鬼心,第一节探讨《左传》鬼神思想的渊源,第二节论述了《左传》鬼神描写的思想及文学意义,从让别人信鬼神自己却信人事、梦的描写及梦幻笔法、占卜灾异的预言功用及预叙笔法等方面阐述《左传》鬼神描写的思想及文学意义。第三节对历来争议颇盛的“左氏浮夸”进行辨正,认为“浮”符合韩愈的“气盛言宜”的文学观念,“夸”是《左传》在借神说教,符合韩愈的正统儒家思想。更多还原

【Abstract】 Zuo Zhuan is not only a history book,but also a literary work. The hobbies of literary think Zuo Zhuan’s literary value is higher than the value of history. In Spring and Autumn Period, under the impetus of thought of the humanistic and artistic awakening, the literary in Spring and Autumn Period began conscious. Zuo Qiuming,the writer of Zuo Zhuan,living in the late Spring and Autumn, affected by this common practice, together with its spiritual nature of the government’s intelligence, wrote history with rich literary merit to make Zuo Zhuan be rich literary.Scholars concerning about the Zuo Zhuan’s literature is far later than its history. Only to Tang Dynasty,Liu Zhiji began to concern Zuo Zhuan’s literary value and made a high degree arts evaluation. Since then, Chen Kui’s WenZe,Wu Kaisheng’s Zuo ZhuanWei, Feng Li Hua’s ZuoXiu, Zhang Xuecheng’s Literature and History TongYi,Liu Xizai’s Arts Generosity,etc, described the literature of Zuo Zhuan from different aspects. On this basis, modern scholars started to conduct a compreh ensive study of the literature of Zuo Zhuan, showing surging trend. Basis on the study of the ancient and modern scholars, we learn nutrition, trying to everbright Zuo Zhuan’s literary value and write the draft on Zuo Zhuan’s literature. In this paper, we carry out a discussion of literature of Zuo Zhuan from the following aspects.In the introduction,we descript the present situation of Zuo Zhuan’s literature by the major scholars of the last three decades.The first chapter was the literature and people’s awakening in Spring and Autumn Period.we discussed it in three sections.SectionⅠdiscussed the awakening of people in Spring and Autumn Period. SectionⅡdiscussed the art gradually awakening under the awakening of the human context.The bronze shape and decoration turned from the stately and solemn light to off and lively, and the bronze inscriptions turned from the lofty and Su Yi to shift-body potential Graceful ease. In the Spring and Autumn before the mid the Bronze Craft Crane side pot lotus symbolized a new spirit, a freedom and liberation of the era (said Zong Baihua). Lu Zhuanggong watched the fish at Tang and carved the Ting of HuanGong and watched the play in Qi states and Jin Pinggong loved the new sound,and so on,which can be used as evidence of the awakening of the art in Spring and Autumn Period.SectionⅢdiscussed the awakening of literature in Spring and Autumn Period.In order to establish a "Spring and Autumn Literature conscious saying",we must respond" WeiJin literary conscious saying " and "literature in Han Period conscious saying ".Suzuki Tiger hung "Wei Jin literature conscious saying" at first,and then advocated by Lu Xun, Li Zehou and Yuan Xingpei such as and turned to the trend to sweep the world.Later under refuted by in Gong Kechang, Zhang Shaokang, Zhan Furui, Li Binghai and Zhao Minli, etc "Han literature conscious saying" replaced "WeiJin literary conscious saying ".However,literature in "Han conscious saying" had its bias, because she ignored the live Smart of Pre-Qin Period literature. Zhou Yi said that the subject of Zhou Yi was far,the word was pageantry,the spoken language was tortuous and accurate and the thing was extensive buried. Moreover,Li Ji,Chun Qiu, Zuo Zuan,Shi Jing,Shi Tong,Zuo Xiu and Wen Shi Tong Yi,etc,all certified "Spring and Autumn Literature conscious saying".ChapterⅡdiscussed the close relationship between Zuo Zhuan and Shi Jing under the premise of "Spring and Autumn Literature self-conscious".SectionⅠdiscussesed the origin and significance of Zuo Zhuan’s writing-poetry customary.SectionⅡdiscussese the function of the conlusion when Zuo Zhuan cited the case of poetry and analysed the reason. SectionⅢdiscussed how Zuo Zhuan resolved Shi Jing and its impact on future generations influence, thus made explicit Zuo Zhuan’s poems’heart.ChapterⅢwas Wen Xin of Zuo Zhuan.We divided into five sessions to discuss.SectionⅠdiscussed the artistic quality of narrative in Zuo Zhuan.We discussed the binary opposition of narrative art, "core" and "satellite" narrative art, omniscient and limited narrative art and contractual narrative mode.Our purpose was to show that Chinese narrative art accorded the narrative theorists advocated by the Western early.The narrative art of Western wasn’t sina flowers in the long history of Chinese narrative.SectionⅡdiscussed the art of the describing characters ofZuoZhuan. SectionⅢdiscussed the argument and remonstrance and the word of diplomats.We mainly discussed the deep and beautiful quality of the argument and remonstrance.We also expounded the euphemism of the the word of diplomats. Section IV discussed the impact of morality theorem of Zuo Zhuan on Han Yu’s Gu Wen from the two aspects of "conception" and "rhetoric",the" a consistent meaning","actual situation and white", "insert pen" and "obvers symmetry " of Zuo Zhuan had deep influrence on Han Yu’s Gu Wen.So we could show the relations of France and Passing on the Torch between morality theorem of Zuo Zhuan and Han Yu’s Gu Wen. Section V investigated the discipline of the metaphor among Zuo Zhuan and Shang Shu and Shi Jing.The fourth chapter disicussed Zuo Zhuan’s war mind. The first section discussed the thinking which were the advocating war,the morality which helps the war, the announcement of war with propriety and the other school of the confucianisim.The second section discussed the same and the distinctive between Zuo Zhuan and Sun Zi Bing Fa about their military thought. They were careful of the war and took pity on the life of people. They knew theirselves and others and weren’t tired through many wars.They upheld the plan and opposed attacking the city recklessly.They loved to use the trick to defeat the enemy.They advocated to defeat the enemy fast.They thought that they would attack the enemy when they crossed the river at half.Those were their same.Zuo Zhuan had more the thought of idealism.Sun Zi Bing Fa had more the thought of materialism.Zuo Zhuan paid attension to humanity.Sun Zi Bing Fa attached importance to benefit.Those were their distinctive. Zuo Zhuan essentially wrote the set of pre-war planning and had a little writing course of the war. When he wrote the positive war place,he always wrote it with the amuseing skill to make the war interesting and to dilute people’s horror to the war.Those were the arts of Zuo Shi’s description of the war.Chapter V discussed Zuo Zhuan’s ghost heart. SectionⅠdiscussed the ideological origins of spirits of Zuo Zhuan. SectionⅡdiscusses the thought and literary significance of Zuo Zhuan’s thought of the spirits.Zuo Shi let others believe the gost but he himself believed human affairs.He wrote the dreams with fantasy calligraphy.He idescribed the penomenoof divilation and catastrophist with fantasy manner.We importantly discussed the thought of Tin and Yang and Five Elements of Zuo Zhuan. SectionⅢdisputed the thought of Zuo Shi’s "Floating and Exaggeration".We thought that the Floating accorded the thought of Han Yu’s momentum and word’s suitableness.The Exaggeration was the showing that Han Yu preached with the spirits.Those consistented with Han Yu’s Confucianism.更多还原