【作者】 赵春辉；

【导师】 关四平； 张锦池；

【作者基本信息】 哈尔滨师范大学 ， 中国古代文学， 2012， 博士

【摘要】 本文通过对才学小说文化生态的考察、才学小说与其他小说类型的比较以及清初至中叶六大才学小说文本的细致分析，力求清晰还原才学小说文体的本来面目，并对才学小说的思想主旨与审美特征、文化内涵和文化沿革等进行探讨，以期对才学小说在中国古代小说发展史上的地位进行尽可能客观的评价。第一章，旨在厘清才学小说的源流。认为才学小说记录知识是与稗官的职能相通的，而其讲究辞章与考证，则是受到中国诗、史传统的影响；认为才学小说也受到汉魏志人志怪、唐宋元明传奇、宋元说话等传统小说的影响，并兼采其长而融为一炉。第二章，旨在揭示才学小说与儒家内部“道问学”传统、清代文化生态的关系，认为清代小说新变不仅是古代小说自身发展演变的结果，更是受到清代实学风气、“格物致知”的认识论、科举制度等的影响。才学小说与明清理学发展、清代学术走势是一个动态的相互依存、相互影响的生态文化系统。第三章，考察才学小说的审美形态。认为清初至清代中叶的才学小说，其总体倾向是要沿袭明代四大奇书的结构类型，同时，在题材上又呈现一种融合的状态，即打破明代四大奇书的界线，在小说中将这几种题材混融在一起。认为才学小说在体式、表现手法和立意诸层面上，其美学特征表现为以小说兼备诸种文体、以小说见才藻辞章之美、以小说填塞经史百家学问、以小说庋藏诸技杂艺之术，而其本旨则是要塑造人物以达到抒情言志的目的。第四章，研究才学小说早期的两部作品。认为《续金瓶梅》是一部庋藏佛学、史学和金学并带有说教性质的才学小说；而《草木春秋》是一部展示中医草药学问的才学小说。结合上海图书馆方志馆发现的关于《草木春秋》的三条史料，认为《草木春秋》的作者不是江洪，而是明末清初的云间人汪价。第五章，研究四六体长篇小说《燕山外史》，认为这是一部展示辞章之美的才学小说，是继唐张鷟《游仙窟》后的一部最长的骈文体小说；《燕山外史》的创作本旨表现在爱情与婚姻上，则主张自由与自主；表现在科举制度上，是讽谕与反思；表现在对官场与朝廷的态度上，则不仅是揭露，更是思考如何保民与安国。第六章，研究小说史上最长的文言小说《蟫史》。该书是一部文备众体的明显带有辞章化的才学小说。认为屠绅逞才炫学的动因实是因功名早慧而仕途坎坷，长期沉沦下僚，遂以写才写学寄其孤愤；《蟫史》的创作素材基本是乾嘉两朝的史实，其特点是因史成材而旨归劝惩；小说的着眼点在于所谓“乾嘉盛世”时期的治乱问题，其所围绕的核心是人才，作者所要表达的观点是“失士者亡，得士者昌”，即人才为兴邦之本。第七章，研究才学小说中逞才炫学的“第一奇书”《野叟曝言》，其庋藏学问明显属于义理一派。认为夏敬渠的学术思想主要来自其家学的影响；《野叟曝言》采用了“家国一体”的叙事模式，其贯穿全书的主脉是主人公文素臣的人生道路及其价值观念；《野叟曝言》写奇写怪的艺术特点，与作品的写才写学、写情写志在三个层面上作用于《野叟曝言》，使之成为一个颇具滋味的艺术整体；《野叟曝言》的文化特征表现为排佛斥道，独崇儒家，既继承程朱理学，并向原始儒家回归，又与陆王心学分庭抗礼，属于崛起于三者之间的清代“新儒学”，这也是《野叟曝言》的思想性质与文化沿革所在。第八章，研究有“万宝全书”之称的《镜花缘》。该书逞才炫学走的是考据派的路子。结合新见李维醇“进士同年齿录”史料的记载，详细考证出李汝珍的家世，并考实李汝珍两次之官河南仅是以候补县丞身份试用，一年期满后并未实授。认为《镜花缘》写才写学主要包括经史之学、智识之学和游艺之学；《镜花缘》在审美观念上有个“三世”说和“四时”说，其本质乃是一种神道设教，属于中国传统叙事观念之一；李汝珍笔端理想国的文化精神是外道而内儒的，表现出向儒家原教旨回归的特征。更多还原

【Abstract】 On the basis of the previous study by excellent elites and through the survey on thecultural ecology of the scholarship novels, the comparison of the scholarship novelswith the other types of novels and the detailed text analysis of six famous scholarshipnovels from the early Qing Dynasty to mid-Qing Dynasty, I try to recover the truefeatures of the scholarship novels and at the same time explore the gist and aestheticcharacteristics, as well as the cultural connotation and cultural evolution of thescholarship novels in order to have an objective judgment on its status in thedevelopmental history of ancient China.In the first chapter I aim to clarify the origin of this type of novel and embark on adiachronic study on the novels. In its origin, I believe the recorded history of thesenovels corresponds with the function of the unofficial while in its valuing the rhetoricand research it is influenced by the tradition of Chinese poetry and history. In therheological aspect, I hold that the novel is undoubtedly influenced by the ghost novelsin Han and Wei dynasties, the legend novels in Tang, Song, Yuan and Ming dynasties,Huaben fictions in Song and Yuan dynasties and other traditional novels. Thus this typeof novels has absorbed a wide range of strong points from others’.The second chapter aims to reveal the relationship between this type of novelsinitiating from the early Qing Dynasty till booming in the mid-Qing Dynasty and thetradition of studying classics in Confucian as well as the cultural ecology in the QingDynasty. It was believed that the novel’s change in Qing Dynasty is a result of not onlythe development and evolution of the ancient novels themselves, but also the influenceof atmosphere of real learning, epistemology of inquiring and the imperial examinationsystem in the Qing Dynasty. The scholarship novels, the development of the idealistphilosophy of the Ming and Qing and Qing Dynasty academic trend are a dynamic andinterdependent combination of ecological and cultural systems.In the third chapter I aim to compare and contrast the subject matters of scholarshipnovels in talking about learning, showing off knowledge and rhetoric and that of otherschools of ancient novels such as the worldly novels, historical novels, ghost stories andhero novels and embark on synchronic study of scholarly novels. It was believed that the general tendency of the scholarly novels from the early Qing Dynasty to mid-QingDynasty is to follow the structure of the four great masterpieces of Ming dynasty.Meanwhile, in subject matters it presents a fusion of them, that is, to break theboundaries of four great masterpieces of Ming dynasty and mix several subjects up inthe novel. It argues on the levels of style, technique of expression and theme ofscholarship novels, their aesthetics characteristics is fiction-centered with many otherstyles, presenting the beauty of the language and rhetoric, the history of learning andother miscellaneous kinds of arts and its aim is to achieve the purpose of expressingideas and emotions by shaping the characters.The fourth chapter aims to study two works of scholarship novels from the earlyperiod: Continued Golden Lotus is known as a scholarship novel combined withGuicang Buddhism, history and school of Golden Lotus and The Vegetation in Springand Autumn is a novel showing Chinese herbal medicine knowledge. According to threehistorical data about The Vegetation in Spring and Autumn found in local chronicles ofShanghai library, the author of The Vegetation in Spring and Autumn isn’t Jiang Hong,but Wang Jia in late Ming and early Qing Dynasty.The Chapter Five mainly studies the four-six style novel Yan Shan Wai Shi. It is ascholarship novel to display the beauty of language, paralleled to Zhang Zhuo’s FairyCave in Tang Dynasty as the longest paralleled prose novels. The three real themes ofYan Shan Wai Shi are to present free love and independent marriage, to show theallegory and reflection in the imperial examination system, not negative or critical, tohold the attitude toward bureaucracy and the court, not only revealing, but also thinkingabout how to protect the people and the country.The sixth chapter mainly studies The History of Yin, the longest classical Chinesenovel in the history. The book is a popular scholarship novel marked with rhetoric. Itargues that the motive of Tu Shen showing off his talent and learning is that he got hisachievement in his early time but his official career was full of ups and downs, hence hewrote such subject matters to vent out his anger. The History of Yin is based on thehistorical materials during the times of Qianlong and Jiaqing and is characterized byhistory but aims at persuading. The focal point of the novel is the issue of order anddisorder in the so-called prosperous periods of Qianlong and Jiaqing, whose core isaround the talent. The author expressed the view of those who devalue the talent will perish and those who value the talent will prosper, that is, the talent is the key of thenation’s prosperity.Chapter Seven studies Ye Sou Pu Yan, a peak masterpiece in the novel of showingoff talent and learning, whose Guicang knowledge obviously belongs to school ofphilosophical connotation. Xia Jingqu’s academic thinking is mainly from the influenceof this school. In the narrative method, Ye Sou Pu Yan used unity-of-home-and-countrynarrative pattern and its line is the hero Wen Suchen’ life and concept of value. Theaesthetic characteristic feature in Ye Sou Pu Yan is the art of writing strangeness, withwhich writing learning and writing love and ambition have an influence on Ye Sou PuYan at three different levels, making it an artist whole with strong taste. Ye Sou Pu Yan’scultural characteristic feature lies in excluding Buddhism and Taoism but valuing theConfucian, which inherits the idealist philosophy of Cheng and Zhu and returns to theoriginal Confucian school, and stand up to mental philosophy of Lu and Wang as anequal, belonging to a rising neo-Confucianism in the Qing Dynasty among the three.This is also its nature of thought and cultural evolution.Chapter Eight mainly studies Jing Hua Yuan so called Encyclopedia of all Treasures.The book follows the path of school of textual criticism to show off the talent andlearning. According to historical materials in Record of Jinshi in the Same Year made byLi Weichun, Li Ruzhen’s family background is careful verified and it is confirmed thatLi Ruzhen was appointed twice as an alternative county magistrate in Henan, but didn’tobtain the permanent status after the one-year expiration. It argues that the scholarshipin Jing Hua Yuan is mainly about the historical classics, intelligence and fun learning.On the aesthetic level Jing Hua Yuan has a comment of san shi and si shi whose natureis a sacred wording, one of China’s traditional narrative concept. Cultural spirit ofUtopia in Li Ruzhen’s writing is Confucian-outside and Taoism-inside, showing thecharacteristics of regression in the Confucian fundamentalism.更多还原