清前中期《诗经》文学诠释史论

【作者】 李兆禄；

【导师】 王志民；

【作者基本信息】 山东师范大学 ， 中国古代文学， 2009， 博士

【摘要】 清代是中国文化集大成的时期,《诗经》学也呈现出集大成色彩。清人从经学、文学两个向度诠释《诗经》,取得了令人称羡的成绩。本论文以清前中期(1644—1839)《诗经》文学诠释为研究对象,通过搜集、阅读大量有关《诗经》文献,甄选出文学诠释资料,以史为经,以各个阶段文学诠释现象为纬,探讨这一时期《诗经》文学诠释状况,还原《诗经》文学诠释的历史面貌。全文共分为4章。第一章:绪论。主要论述以下5个问题:一、界定《诗经》文学诠释的内涵与外延,为材料的择取与述论划定界域。二、简述清代以前《诗经》文学诠释历程,以见清前中期《诗经》文学诠释并非凭空而起,而是渊源有自,是《诗经》文学诠释在新的历史时期的自然发展。三、分民国时期与20世纪80年代以来两个阶段,概述学界对清前中期《诗经》文学诠释的研究状况。四、梳理清前中期《诗经》文学诠释的文献主要存在形式。五、胪列本论文的若干创新点。第二章:清前期《诗经》文学诠释(上)。该章主要论述自1644年至康熙二三十年期间《诗经》文学诠释。包括以下内容:一、此期的《诗经》文学诠释在阐发《诗经》文学性质,以臆说《诗》、张扬文学诠释主体,评析章法、句法、字法、讲析诗意篇旨等方面继承、延续了中晚明《诗经》文学诠释的做法。二、在明清易代、实用思潮兴起的的大背景下,此期《诗经》文学诠释又有新的发展变化——从文学角度阐发《诗经》的社会功能,表现在:陈子龙、贺贻孙褒扬《诗经》的“美”“刺”精神;钱谦益、黄宗羲、贺贻孙阐述“变风”、“变雅”如何通过“以情感人”实现其教化作用;顾炎武、陈子龙、毛先舒肯定《诗经》中一些作品“狡迫直露”的审美风格;顾炎武高唱“文须有益于天下”,指出《诗经》作为文学品所具有的认识社会生活的作用;吴乔则阐释了《诗经》之用为“虚用”,不同于应用文的“实用”。三、论述此期《诗经》文学诠释“双杰”贺贻孙、王船山的《诗经》文学诠释。贺贻孙的《诗经》文学诠释主要存于《诗触》与《诗筏》中。他充分认识到《诗经》的文学性质,指出“知《诗》之为经而不知《诗》之为诗者,不可与言经”;并据此提出“观其大意”、力求“圆通”“活动”的诠释方法,反对“拘文牵义”、“呆讲”;彰显创作主体,重视诗人创作时的积极主导作用,认为不同主体面对相同现象产生抒发的情感不同,强调诗人构思在诗歌创作中的积极作用,从“情”着眼揭示诗人的创作心态与动机,诠释《诗经》代拟的抒情方式;赏评《诗经》妙境,评析《诗经》人物形象、诗法,阐发审美感受。王船山文学诠释《诗经》文字主要存于《姜斋诗话》,此外《诗广传》、《四书训义》、《诗经稗疏》、《古诗评选》、《唐诗评选》、《明诗评选》等中也有一些。他以“情”为核心范畴文学诠释《诗经》:从“《诗》道性情”出发,把《诗经》与其他经书分开,肯定《诗经》中的说理诗、叙事诗、情爱诗;以“情”为出发点和联络点,发展丰富了《诗经》“兴观群怨”接受理论,视“情”为《诗经》实现其社会功能的媒介。他还评鉴了《诗经》的艺术风格:从旋律与节奏的角度评析《诗经》的音乐美;以“曲尽人情”、“外周物理”为标准,评赏《诗经》中的情景描写;以“意藏篇中”为指导,赏评《诗经》的章法、句法与用韵。船山的《诗经》文学诠释,《诗》学、诗学交融一体。第三章:清前期《诗经》文学诠释(下)。该章主要论述康熙二三十年至雍正朝的《诗经》文学诠释。此期《诗经》文学诠释,注重文本,推寻诗意:李光地提倡“涵泳白文”,孙承泽要求“以经还经”,朱鹤龄、陈启源虽以考据见长,但也时常阐发诗意与诗法,并时有精彩之论。随着科举考试的复兴,场屋《诗经》用书又逐渐增多,代表作品有赵灿英《诗经集成》、姜文灿、吴荃《诗经正解》等。这类用书讲析诗意,揣摩语气,体现出一定的文学诠释色彩。方苞、储欣,尤其是方苞,自觉以文法理论为指导诠释《诗经》,对后人影响较大。此期《诗经》文学诠释呈现出多维态势:蒲松龄、储欣、汪绂等以世俗说《诗》,把《诗经》拉下圣坛,还原其世俗本相;姚际恒、储欣等从诗画相通入手,揭示《诗经》与画在审美趣味、带给读者的审美感受等方面的相通之处,以绘画手法、技巧评赏《诗经》艺术手法;劳孝舆则通过评说春秋时期赋诗、引诗活动,完成对《诗经》的文学诠释;对《诗经》“诗之祖”的认识向着细深方向发展,如姚际恒反对空言《诗经》为“诗之祖”,要求结合具体作品作出有针对性的分析,田雯认为艳体诗源于《郑》、《卫》之风,叶燮明确指出“诗始于《三百篇》”。此期《诗经》文学诠释的代表人物是姚际恒,其《诗》学著作是《诗经通论》。他继承朱熹回归文本、寻绎诗意,以人情说《诗》的做法及对《诗经》重要表现手法赋、比、兴的认识,拓展了文学批评《诗经》途径。“圈评以明《诗》旨”,是姚际恒对中晚明兴起的《诗经》文学评点的重大发展,将《诗经》文学评点推向一个新的境界。他极为重视《诗经》的文法结构,常常予以精彩细致的剖析与赏评。第四章:清中期《诗经》文学诠释。此章主要论述乾、嘉及道光朝前中期的《诗经》文学诠释。此期盛行的考据学对《诗经》文学诠释产生了重大影响,通过考据以寻诗意是其主要表现,焦循、马瑞辰、戴震、牟应震、牟庭可为代表。焦循强调“训诂之不明,则诗辞不可解”。马瑞辰以考据见长,也不乏诗意的准确揭示,并时常通过考证字义评析诗的描写艺术。此时也有对以训诂求意不满者:张叙认为“《六经》言性,《诗》独言情”,因此不能以训诂、义理求其情,而应“以情求情”;章学诚则认为《诗经》与后世诗歌的相通之处在于本质上的言情达志、敷陈讽谕、抑扬涵泳而非形式上的“声韵”。以汉学家身份而取得《诗经》文学诠释最大成绩的是郝懿行。郝懿行据自己与妻子平时说《诗》言论撰成《诗说》、《诗问》二书。他注意到《诗经》中的情感描写,述说自己及妻子阅读《诗经》时产生的情感共鸣,评赞《诗经》美妙的笔法,这在考据风气盛行下尤显可贵。此期文论家纷纷以自己的文学理论诠释《诗经》。主格调说的沈德潜强调《诗经》温柔敦厚的审美风格,突出诗人品格对形成这种风格的先决作用,褒赏《诗经》的体制格法。主性灵说的袁枚认为《三百篇》与其他流传下来的诗歌一样,都是性灵,肯定《诗经》中艳情诗的存在价值;认为《诗经》形式由其抒发的性情决定,并肯定《诗经》丰富多样的审美风格。翁方纲认为《诗经》区别于《尚书》之处在于《诗经》是以艺术形式传旨达意,并以具体诗篇为例,论述《诗经》作品具有肌理说关于诗歌标准——实的性质。清前期曾一度衰微的《诗经》文学评点在此期也再度兴盛,表现为评点著作数量大,有11部之多;评点形式多样,眉批、旁批、夹批、总评4种形式兼备;既有原创评点,又有辑评之作;评点的诗学理论色彩较浓。此期评点的代表作有张梦瀛《葩经一得》、牛运震《诗志》等。牛运震以神韵说等诗歌理论为指导,“会其语妙,著其声情”,进一步发展了《诗经》文学评点。崔述《读风偶识》借批驳《诗序》“好不知以为知”、以“正变”“美”“刺”说《诗》行径,提出“体会经文,即词以求其意”的正确读《诗》方法,通过诠释诗体、诗意与章法,彰显《诗经》的艺术特色。结论部分归纳概括清前中期《诗经》文学诠释的特色:诠释形式多样,名家名作纷呈,经学与文学相杂,《诗》学与诗学交融等。更多还原

【Abstract】 The Qing Dynasty is a period that Chinese culture was synthesized and brought its highest development.The Theory of The Book of Songs also presents similar feature.Scholars living during the Qing Dynasty annotated The Book of Songs from Confuncian classics and literature angles,and achieved great successes.The research object of this paper is the literature annotation about The book of Songs during the Early and Middle Qing Dynasty.The paper is based on full and accurate data,and approaches the research object from vertical and horizontal.It has 4 chapters.The first chapter:Introduction.This chapter discusses 5 problems.1.To define the literature annotation about The Book of Songs.2.To give a brief account of the literature annotation about The Book of Songs before the Qing Dynasty.3.To give a brief account of the research present situation of the literature annotation.4.To reorganize the document forms literature annotation.5.To list main original ideas of the paper.The second chapter:The literature annotation of The Book of Songs during Early the Qing Dynasty(Ⅰ).This chapter discusses the annontation of The Book of Songs from 1644 to Kangxi tweenty thirty year mainly.1.The literature annotation carried on any ways during the Ming Dynasty,like as,elucidating the literature nature of The Book of Songs,annotating by conjecture,discussing the ways of poems,etc.2.Practical thrend of thought began flourishing.Influenced by this phenomenon,some annotators elucidated the social function of The Book of Songs through literature way:They commended its“straightforwardly-presented”spirit of“beauty”(mei) and“sarcasm”(ci),and elaborate the didactic way to affect others with sincere feelings in the variations of the ballads (bian feng) and those of the odes (bian ya), and affirmed its frank aesthetic style,and explore the reason why The Book of Songs“may be used purposes of self-contemplation”,and indicate its differences from practical writings.In a word,they are concerned about its attribute while annotating its social functions.3.To discuss literature annotation of He Yisun and Wang Chuanshan.He Yisun understood the literature nature of The Book of Songs,and thought that you would not discuss The Book of Songs with a man who only knows it is Jing not poem.He put forward annotating ways such as:to understand main content,flexible,etc.He payed attention to the decisiveness function of poets,and considered different poets would have and different express different feelings when they face the same scene.He annotated the the“dai ni”expressing way. He Yisun enriched and developed the literature annotating of The Book of Songs through his paying attention to the lyric subject which is one of the 4 essential fators of literature.He appreciated and evaluated the mood,images in The Book of Songs.He also elacidated his feelings of appreciation of the beautiful. Around the proposition that The Book of Songs describes feeling, Wang Chuanshan annotated The Book of Songs by feeling, and differentiated The Book of Songs from the Cunfucian classicses. Seeing from the angle of feeeling, Wang Chuanshan affirmed arguing poems and narrative poems in The Book of Songs, and highlighted feeling between feeeling and scene. Taking feeling as the point of departure and liason, Wang Chuanshan developed Confucious’“xing, guan,quan, yuan”accepting theory, and he regard feeling as the medium that carried out the social function of The Book of Songs. Because of correct understangding about feeling, Wang Chuanshan fully affirmed the value of love poems in The Book of Songs. In a word, feeling is the core category by which Wang Chuanshan annotated The Book of Songs. Wang Chuanshan praised highly the art style of The Book of Songs. Chuanshan appreciated the the repeatedly intoning melody aesthetic sence of The Book of Songs, and differentiated Ya and Zheng according to rhythm, and expounded the rhythm of some poems. Chuanshan appreciated and evaluated the feeling-scene description by indirect-expressing-feeling standard, and commented on art of composition, sentence structure, rhyme of some poems in The Book of Songs by thought-hiding-poems standard.The Theory of The Book of Songs and poems theory blend in Wang Chuanshan’s lierature annotation.The third chapter: The literature annotation of The Book of Songs during Early the Qing Dynasty(Ⅱ).This chapter elaborates the literature annotation from Kangxi tweenty thirty year to Yongzheng Dynasty,During this period,some annotators payed attention to the text and seeked the main meanning of The Book of Songs:Li Guangdi adocated to chant the text.Sun Chengze advocated to return poem to poem.Zhu Heling and Chen Qiyuan elucidated main meanning and poems ways.Along with the reviving of imperical examinations,books used by people who wanted to part imperial exmination became more again.Zhao Canying’s Shijing Jicheng and Jiang Wencan,Wu Quan’s Shijing Zhengjie are representative works.Those works promulgate the poem meanning,and try to figure out tone and embody literature annotation flavour.Fang Bao,Chu Xin,especially Fang Bao,annotated The Book of Songs guided by rules of composition theory.The literature annotantion during this period presented more angles posture:Pu Songling,Chu Xin,Wang Fu annotated The Book of Songs by common customs,and return the real situation of The Book of Songs.Yao Jiheng,Chu Xin promulgated the resemblence between The Book of Songsand painting,such as,aesthetic interesting,reader’s aesthetic feelings,and enjoy The Book of Songs by painting technique,skill.Lao Xiaoyu fulfilled his literature annotation through commenting on fushi,qouting poems activity.The idea about The Book of Songs is the fountainhead of poems developed to detailed and deep,example,Yao Jiheng asked to analyse by poems,and Tian Wen thought the Feng of Zhengguo and Weiguo as the fountainhead of erotic,etc.Yao Jiheng was the annonator who achieved great success in literature annotating The Book of Songs during this period and his work’s name is Shijing Tonglun.He took up the ways to return the text,to comprehend the topic of poems,to annotate The Book of Songs by common sense,those Zhu Xi han used.He inherited Zhu Xi’s idea about fu,bi,xing and drum up new way for annotating The Book of Songs from literature angle.To interprer the topic of poems by comment,is Yao Jiheng’s important way to read The Book of Songs and contribution to the study of The Book of Songs.The fourth chapter:The Literature Annotation during Early and Middle Qing Dynasty Influnced on Puxue,Jiao Xun,Ma Ruichen,Dai Zhen,Mu Yingzhen,Mu Ting,etc.tried to find the thought of The Book of Songs by textual criticism.Though,some scholars opposited this way.Zhang Xu thought that The Book of Songs expresses feelings,so he asked to look after feelings by feelings.Zhang Xuecheng regard expressing feelings as the similar of The Book of Songs and other literature works.Hao Yixing was the sinologist who was successed in literature annotating The Book of Songs.Some literature crictics,like as Shen Deqian,Yuan Mei,Weng Fanggang,annotated The Book of Songs leaded on their literature theory.During this period,The Book of Songs comment which had being on the wane during the Early Qing Dynasty throved once again.The presents were Niu Yunzhen and Zhang Mengying.Cui Shu criticized Shixu and brought forward the right way to find the idea of The Book of Songs by experiencing the text.The Conclusion Part.The characteristics of literature annotation during the Early and Middle Qing Dynasty are follows:The annotation was influnebced on times science thoughts.There were many famous annotators and works.Studies of Confucian classics and literature blent together.The study of The Book of Songs and poetics blent together.更多还原