中國文哲研究集刊第九期

王紹曾	如何正確評價黃丕烈在版本學上的貢獻
何志華	高誘引《禮》考
王曉毅	西晉玄學與佛教的互動
李豐楙	傳承與對應︰六朝道經中「末世」說的提出與衍變
蕭馳	論中國古典詩歌律化過程的概念背景
劉少雄	論柳永的艷詞
華瑋	性別與戲曲批評──試論明清婦女之劇評特色
王璦玲	論明清傳奇之抒情性與人物刻畫

Number 9 September 1996

How to Evaluate the Contribution of Huang Pilie in Bibliology	WANG Shaozeng
Comparative Study of Zhouli and Liji Quotes from Gao You's Huainanzi andLushichunqiu Commentaries	HO Che Wah
The Interaction between Neo-Taoism (Hsuan-hsueh) and Buddhism in the Western Chin　Period	WANG Xiaoyi
Taoist Doctrine of Eschatology	LEE Fong Mao
The Conceptual Background to the Formation of Classical Regulated Poetry	XIAO Chi
On the Yen-tz'u of Liu Yung	LAU Siu Hung
Gender and Drama Criticism: Characteristics of Ming-Qing Women's Commentaries on Plays	HUA Wei
Lyricism and Characterization in Ming-Qing Chuanqi Drama	WANG Ayling

如何正確評價黃丕烈在版本學上的貢獻

王紹曾

提要

　　黃丕烈是清代乾嘉之際著名的大藏書家，傑出的校勘學家、版本學家，為清代版本學的奠基和發展作出了不可磨滅的貢獻。然而從乾嘉時代起，對黃丕烈的評價，就有著不同的看法，洪亮吉有意識地把他看成是藏書家中的賞鑒家。自稱是黃丕烈的知己朋友嚴可均，對他「蓄書多宋本」，提出了異議。直到現代，如著名學者余嘉錫、張舜徽，都對黃丕烈抱著很大的偏見，有意貶低黃丕烈在校勘學、版本學上的貢獻。論文首先指出洪亮吉眼裡的所謂「賞鑒家」，實際上是骨董家的別稱。他們都錯誤地理解黃丕烈的「佞宋」是對宋本書的盲目崇拜。文章著重說明，「佞宋」是在特定時代條件下藏書家、校勘家追求的目標，並不是什麼壞事。接著引用大量黃跋，用他自己的話和校勘實踐，證明黃丕烈並不盲目崇拜宋本，而且不諱言宋本的缺點，甚至說有些宋本還不如明本。他主張衡量版本的優劣，必須取決於校勘的結果，堅決反對口說耳食以定是非。文章用具體事實，證明黃丕烈在版本問題上具有實事求是的科學態度。從根本上澄清了對佞宋的誤解。文章進一步論證了黃丕烈在校勘學上的成就，肯定黃校本是影宋影元鈔本的一大發展，為版本學增加了新的內涵，在校勘學、版本學上有著重要的作用。文章最後得出結論，黃丕烈是一代版本學宗師，是清代版本學的奠基人，在版本學史上起著承先啟後的作用。在乾嘉以來將近兩百年中，有著深遠的影響。

How to Evaluate the Contribution of

Huang Pilie in Bibliology

WANG Shaozeng

　　Huang Pilie was a great and famous book collector, an outstanding expert in textual criticism and bibliography in the Qianlong-Jiaqing periods of the Qing dynasty. He made immortal contributions to the basics and development of bibliology in his lifetime. But there were different opinions of Huang from then on. For example, Hong Liangji deliberately regarded him as a bibliophile among book collectors. Yan Kejun, who declared himself to be Huang's bosom friend, raised an objection to his emphasis on collecting more Song edition books, too. Up to now, eminent scholars, such as both Yu Jiaxi and Zhang Shunhui, have a prejudice against him, and belittle him on purpose. This article, at first, points out that a so-called bibliophile in Hong's eyes is actually another name for connoisseur of curios. They mistook Huang's passion for Song editions for blind worship of Song edition books. The article further clarifies that passion for Song editions is an aim for book collectors and textual critics under the conditions of particular eras, and is not a bad thing. Then the thesis quotes a great many of Huang's postscripts, showing with his own words and redaction practices that Huang not only did not blindly worship Song editions, but also spoke bluntly about their defects. He even said that some Song editions were not better than Ming editions. Huang recommended judging the edition by the resulting redaction. The paper uses concrete facts to demonstrate that Huang's attitude towards editions comprises a practical and realistic science, and completely clears up a misunderstanding about his passion for Song editions. This thesis expounds and justifies Huang's achievement in textual criticism, further demonstrating that Huang's redacted editions represented a great advance from photo-offset copies of Song and Yuan materials. They added new contents to bibliology and played an important part in bibliology and textual criticism. Finally, the article draws a conclusion that Huang Pilie was a master of great learning and integrity in bibliology; he laid a foundation for the bibliology of the Qing dynasty, and served as a link between past and future in the history of bibliology, which has had far-reaching influence since Qianlong-Jiaqing times.

Key words: Huang Pilie　　　 textual criticism　　　 bibliology

高誘引《禮》考

何志華

提要

　　《周禮》、《禮記》二經，因歷代迻錄，或經後人妄改，殆非其舊，惜乎今日仍然可見之二經古本，不過唐、宋舊槧而已，距離二經之編纂年代已遠，學者單據版本所見異文，實難以考證二經舊貌；今考東漢高誘為《淮南子》、《呂氏春秋》兩書作《注》，嘗博徵古籍以為說解，當中屢引《周禮》、《禮記》為《注》（惟未見引錄《儀禮》者）。高誘生在東漢，其所見書蓋為近古，據高《注》引《周禮》、《禮記》以比勘今本，考其異同，或可推知二經之古本舊貌，於二經之斠讎，不無裨益；反之，兩書高《注》引錄二經文字有因歷代傳鈔而訛誤者，亦可據二經今本斠正之。本文嘗試輯錄兩書高《注》引《周禮》、《禮記》例，以比勘今本，並作校釋。

Comparative Study of Zhouli and Liji Quotesfrom Gao You's Huainanzi andLushichunqiu Commentaries

HO Che Wah

All extant editions of the two classics Zhouli and Liji, even those of the T'ang and Sung dynasties, have suffered textual corruption. Gao You, a scholar of the Eastern Han, left behind citations from these two classics in his commentaries on Huainanzi and Lushichunqiu. This article, by comparing Gao's citations with the texts of the extant editions, has identified the differences between these versions of the two classics.

Key words: Gao You　　　 Zhouli　　　 Liji

西晉玄學與佛教的互動

王曉毅

提要

在西晉玄學與佛教的發展過程中，玄學的影響無疑居主導地位，表現在以其自由開放的清談學風與哲理辨析，使佛教玄學化并進入了士族上層知識界。同時，佛教對玄學本體論的完善也起了不可忽視的作用，表現在般若學影響了玄學的宇宙觀，使其去掉了傳統的宇宙生成論尾巴，以「體用一如」的思維方法，成功地融名教與自然於一體，最終解決了魏晉玄學的歷史課題。

　

The Interaction between Neo-Taoism(Hsuan-hsueh) and Buddhism in the Western Chin Period

WANG Xiaoyi

　　In their development during the Western Chin period, Neo-Taoism and Buddhism interacted with each other. Neo-Taoism, assuming the more dominant role in the process, made it possible for Buddhism to reach the aristocracy and literati by adopting the former's practices of free and open “pure conversation” (ch'ing-t'an) as well as in-depth philosophical analysis. Buddhism, in contrast, made a noticeable contribution to the completion of a Neo-Taoist ontology. To be more specific, Buddhist prajna teachings helped free Neo-Taoist cosmology from the influence left by traditional Chinese cosmogony. In addition, the Buddhist t'i-yung-i-ju(“the identity of substance and function”) mode of thinking contributed to the successful merging of ming-chiao (teachings based on the principled concern for names) and the Neo-Taoist concern for nature. With these achievements, Neo-Taoism was able to finally fulfill its historical role.

Key words: Hsüan-hsüeh　　　 Buddhism　　　 prajna teachings

Western Chin Dynasty

傳承與對應︰六朝道經中「末世」說的提出與衍變

李豐楙

提要

　　在六朝所面對的時代巨變、特別是南北朝分治的三百年間，道教以民族宗教嘗試對之提出一套創發性的解說，並拯救民人於苦厄之中。

　　道教的基本理念即是基於「度劫」與「命定」，由此建立了中國式的「拯救論」，這種拯救論自有其重要的，而不同於基督教義之處。雖則其理論容或有多少的異同，但是都建基於兩種模式︰即宇宙論與拯救論。

　　宇宙論模式︰道教傳承了傳統中國式的宇宙構成論及其結構，因之，宇宙乃是遵循圓道循環，即陰與陽的消長︰陽數之極為陽九，以此示象為乾旱；百六為極陰之數，即示象為洪災。類此宇宙構成論，乃導致天人感應，換言之，其間的相對影響緣於宇宙失序乃人在道德上，罹犯了罪及應承擔的罪的後果，故上天應施予懲罰。

　　在中國哲學裏，此即基於「常與變」、「常與反常」，儒家守常而道家達變。後者關懷旱災、洪災、疫病、集體死亡及朝代末，此即拯救論的「末世」，也就是朝代終結的「末嗣」，在此即將由神施行其嚴厲的罪罰與救贖。

　　而在拯救論模式︰道教的智慧將嘗試解決世厄，使之由反常而返常，此即是「種民」經挑選的人中之種，可變化成仙，這就成為安樂而和諧的世界。它將捨離罪、過而不再罹犯，也不再為天（天帝）所棄。

　　道教即結合此兩種模式，以為奉道即為了行善去惡，遵行正道，如此道教徒即成為被拯救者，在實踐中離惡去罪，這是一般研究道家的學者所易於忽略的。

Taoist Doctrine of Eschatology

LEE Fong Mao

In facing the radical changes in China during the Six Dynasties, especially in facing the political division between both sides of the South and North Dynasties for three hundred years, Taoism as a national religion had to elaborate a creative interpretation of its doctrine of salvation: that is, saving people from calamity.

The theological foundation of Taoism is based upon these concepts of “calamitous turn” and “fateful calamity,” upon which we can say there is a kind of “Chinese eschatology.” This eschatology has its essential dogmas; it is different from the Christian version, although the framework of presentation is more or less the same. Both are worked out on two models, the cosmological and the soteriological.

The cosmological model: Taoism has inherited a traditional Chinese vision of cosmic origin and structure. According to it, the cosmos follows a cyclic order within which the rhythmic dialectics between Yin and Yang take place. The Yang pole, when pushed to its radical state, interpreted by the number 9, represents the calamity of drought; whereas the Yin pole, radicalized to the state interpreted numerically by 6, represents the calamity of flood. The doctrine of sensitive interaction between Heaven and Man is derived from this organic cosmology. Here we have another vision of mutual influence between natural disasters and human morality, the latter being characterized by either trespass and sin, or merit and virtues, provoking thereby either punishment or reward from the cosmic process.

The oppositions between “permanence and change,”as well as “normal and abnormal,”constitute a basic conceptual structure in Chinese philosophy. Confucianism is for the permanent and the normal, whereas Taoism is more on the side of change and the abnormal. That is why it concerns itself with drought, flood, illness, collective death and the end of dynasties, etc. It combines the eschatological concept of “end” with the catastrophic concept of calamity into the concept of “Catastrophic Ending,”which is also considered as the right moment for punishment or salvation by the Omnipotent God.

The soteriological model: Taoist wisdom is a type of learning about tackling radical changes. Its main concern is how to return from the abnormal to the normal. Those who follow the Way become the “seed people”: elected people in the Taoist sense, to be rewarded by entering the world of immortals, transcending all life and death in spatio-temporal process. This will be a world of happiness and harmony. Those who, abandoning themselves in evil and sin, do not follow the Way, are to be abandoned again by Heavenly God.

Combining both models, Taoism sees the world as an unceasing recurrence of fateful calamity and salvation from calamity. Under this main concern, new sects of Taoism tend to emphasize the role of Savior, but the aspect of cultivational practice, although often neglected by scholars of Taoism, is also essential for salvation from sin and evil.

Key words: Six Dynasties　　　 eschatology

論中國古典詩歌律化過程的概念背景

蕭馳

提要

　　本文以指出古典律詩聲律和句法──語義結構中存在同一模式為出發點，進而論證︰中國古典律詩形成中有一超越技術和漢語本體決定性的歷史觀念背景。在魏晉時代音樂觀念之滲入文學的條件下，詩歌被認為如音樂那樣以其抽象的語言形式體象宇宙；同時，以王弼易學為代表的新宇宙觀念則不再強調以「同類相從」的原則，體象出宇宙的包羅萬有的感性形象，而強調擬範出「異類具存」宇宙的變化影跡。「命呂者律」，「命宮而商應」乃此變化中之基本法則，也理所當然地成為聲律結構中「宮羽相變」和對仗的語義結構中「反對」法則的依據。上述概念背景使律詩的形式體認出古代中國人心目中平衡、和諧、沉穩，迴宛的世界秩序。其與音樂觀念的淵源關係則解釋了其美學意味中的超越參指性層次的存在。由此，中國古典律詩即表現為一種渾涵闊大與精微謹細結合之美學境界。

The Conceptual Background to the Formation of Classical Regulated Poetry

XIAO Chi

　　This essay starts with indication of a model existing identically for both the metrical and the syntactico-semantic structures of Chinese classical regulated poetry. I go on to argue that the formation of regulated poetry stems from a historical background of ideology which transcends the technical conditions and intrinsic characteristics of Chinese language that people have usually postulated. Since musical concepts had permeated literature in the Wei-Jin period, poetry was regarded as an art which, like music, could embody the cosmos by its abstract linguistic forms. Meanwhile, the new cosmological concepts represented by Wang Bi's (226-249) reinterpretation of The Classic of Changes no longer laid emphasis on the representation of the figurative image of the all-embracing cosmos by the principle of “things mutually influencing according to kinds.” Instead, this new philosophy undertook to trace the perpetual movement of the cosmos in which “things exist variedly.” The basic laws of the cosmic movement are that “what evokes yin pitch is yang pitch” and that “what resonates gong-tone scale is shang-tones;”accordingly, these laws became the very ground of the new metrical and semantic structure of antithetical parallelism. The aforementioned conceptual background confirms that the generic form of regulated poetry embodies the counterpoised, harmonious, steady and perennial order of the cosmos in the ancient Chinese mind. The two conceptual sources also combined to produce the particular aesthetic realm of this poetry, which unifies the mightiest feeling of cosmic vastness with a meticulous sense of mathematical wisdom.

Key words: ancient literary theory　　　 Chinese regulated poetry

Wei-Jin metaphysics　　　 The Classic of Changes

Chinese theory of music

論柳永的豔詞

劉少雄

提要

　　歷來詞評甚為推崇柳永的羈旅行役之作，但卻完全否定其側豔香軟之詞。本文重探柳永的豔詞，以「客觀描寫的情景」與「主觀敘述的情思」作分類，詳析其內容及表現特色，以為柳永以鋪敘、白描的手法寫情詞，其優點是寫女子之形貌、神情俱能巧妙生動，如在目前，其缺失則是一旦涉寫冶游之樂、男女閨房之情時，卻易流於淺近卑俗。因此，對柳永豔詞的評價，雖細加分別，不可一概而論。後文補述柳詞之寫作背景，以探其詞心，並發掘其在文體上的創獲。拋開過去的雅俗之辨以及道德批判的立場，純粹從文學表現的角度著眼，不難發現柳永豔詞在開拓語言與意境方面有相當可觀的成就。那是一種情感寫實的手法，直接自然，一改《花間》派令詞含蓄而富詩意的寫作方式，無疑開拓了新的視野，也因此衝擊了傳統的美學觀念。

On the Yen-tz'u of Liu Yung

LAU Siu Hung

　　Critics of Liu Yung, while lauding highly his tz'u poems that describe the lives of stranded travelers and their journeys, have held a negative view toward his other works that describe feminine charms and amorous feelings. I, however, have engaged here a re-examination and re-evaluation of this latter cluster of Liu's tz'u poems, the so-called yen-tz'u (erotic poems). Instead of treating Liu Yung's erotic poems as a whole, I divide them into two categories,“scenes of objective description”and“sentiments embodied in subjective characterization.” In addition, I avoid evaluating these poems in terms of conventional moral norms or of traditional debates between the refined and the vulgar, as others have done before. Rather, I elucidate the value of Liu Yung's erotic poems according to his method of expression.

　　To be more specific, this essay helps to illuminate Liu Yung's erotic poems through two discussions. The major one analyzes both the contents and ways of expression in those tz'u poems. It explicates not only Liu Yung's technique of both elaborate and plain sketches (pai-miao), but also the strengths and weaknesses of the way he wrote. In short, whereas Liu Yung presented vivid descriptions of a woman's countenance, body features, or various kinds of manner, his composition of amorous scenes easily degenerated into barren and coarse language. The second discussion, as a complement to the first one, looks into the literary background of Liu Yung for a better view of his motives for writing and his literary achievements. This exploration shows that Liu Yung had moved a great step forward with his erotic poems. He initiated a language and depicted more and deeper sentiments in the tz'u poetry. Further, with such emotional realism, Liu Yung wrote in a direct and natural manner, which departs from the oblique and poetic approach found in the Short Tunes (ling-tz'u) of the earlier Hua-chien school. Thus, he not only provided a novel perspective in literary creation, but also made a tremendous impact on traditional aesthetics.

Key words: Liu Yung　　　 yen-tz'u (erotic poems)　　　 Hua-chien chi

　　　　　plain sketch (pai-miao)　　　 the debates between the refined

　　　　　and the vulgar　　　 emotional realism

性別與戲曲批評

──試論明清婦女之劇評特色

華瑋

提要

　　中國戲曲批評隨著明清兩代戲曲的風行而臻於大盛。除了居於主流的男性批評傳統之外，明清婦女亦留下了至今尚鮮為人注意的戲曲批評材料。這些材料沒有曲學或劇學的專著，絕大多數是戲曲文學批評，以當時刊行劇本之序跋、題辭、總評、評點等方式流傳，還有些見於當時詩集與文集的記載。明清婦女評論過的劇目已知有二十八種，其中以湯顯祖的《牡丹亭》著墨最多，成就和貢獻也最大。例如清康熙甲戌（1694年）刻成的《吳吳山三婦合評〈牡丹亭還魂記〉》（《三婦評本》），在中國戲曲評點史上就有著特殊的地位。

　　本文主要從批評的角度、批評的深意、批評的重心與批評的風格這四方面檢視明清婦女的劇本批評（尤其是《三婦評本》），分別舉出「女性觀（關）照」、借題發揮以自抒胸臆、重人情甚於重辭章、重神悟甚於重評判這幾個概括性的重要特色。

　　本文試圖填補在研究明清婦女之文學表現上的一些空白，展現出她們在創作以外的評論活動，並突顯了中國戲曲批評與評點中男性以外的另一種策略和傳統。

Gender and Drama Criticism:

Characteristics of Ming-Qing Women's

Commentaries on Plays

HUA Wei

　　Drama criticism reached maturity in China during the Ming-Qing era with the popularity of musical drama. In addition to the mainstream male critical tradition, Ming-Qing women also left their own heritage of drama criticism, heretofore rarely noticed by Chinese drama scholars. These critical materials for the most part were women's commentaries on scripts. They appeared as prefaces, postscripts, or reviews in the printed texts of plays, and sometimes in their own or others' poetry or prose anthologies. Up to now, at least 28 plays are known to be commented on by Ming-Qing women, among which The Peony Pavilion by Tang Xianzu of the late Ming received their most enthusiastic attention. The Three Wives of Wu Wushan's Commentary on The Peony Pavilion, printed in 1694, was a good illustration of Ming-Qing women's interest in, appreciation of, and contribution to, this masterpiece of classical Chinese drama.

　　My article examines Ming-Qing women's drama criticism, especially The Three Wives' Commentary, in terms of critical angle, intent, focus, and style, which, I conclude, show these main characteristics respectively: female perspective/feminist concern, self-expression and representation, more emphasis on human feelings than on rhetoric and melody, and empathetic understanding instead of judgmental evaluation.

　　With the aim to complement the study of Ming-Qing women's literary expressions and contributions, I illustrated in this article their significant critical undertakings besides creative writing. Their play critiques as a whole revealed not just a different kind of tradition, but also different kinds of critical strategies, from the mainstream male interests in traditional Chinese drama criticism.

Key words: Ming-Qing women　　　 Chinese drama criticism

　　　　　Tang Xianzu 　　　The Peony Pavilion

　　　　 The Three Wives of Wu Wushan's Commentary on The Peony Pavilion

論明清傳奇之抒情性與人物刻畫

王璦玲

提要

　　中國戲曲的文學特性是在抒情與敘事的傳統中完成的，明清傳奇作家在創作上，一方面繼承了古典詩詞的抒情特質與造境方法，並在深度與廣度上有所拓展，創造了「情景相生」，物我情融的「詩化」戲劇情境，以及融「表現」於「再現」的代言體表達方式，充分發揮戲曲「極情盡致」的特點。另一方面，傳奇的創作更開拓了以「情節」趣味為中心的藝術構思方式，以豐富的虛構與想像為敘事基礎，建立起自成體系的戲劇化展示方式，如內在型衝突「外化」為唱、念、做、打相結合的「現在動作」表現方式等。然而，戲曲藝術作為敘事文學之抒情性表現有別於詩詞之處，在於它不能僅是劇作家內在情感的直接抒寫，而是要把這種內在情感「外化」成某種形象實體作為情感的具象呈現，並通過人物形象蘊蓄與抒發劇作家的情感思想。

　　戲曲之創作從明代以來由於文人之擴大參與，曲文之「主題意識」與「情節結構」逐步滲透，使明清傳奇開始具有呈現整體文學性之要求，因而拓展了文人參與劇作之空間。伴隨著對戲劇主題與情節的深度投入，劇作家或劇論家自然地把目光投向戲劇情節的行為主體，即人物的刻畫與分析之中。有鑑於此，本文以明清傳奇之劇本創作、舞臺演出與演員之表演藝術為對象，首先探討「抒情性表現」於戲劇中之傳達方式與中國戲曲抒情特質構成之基礎，並析論戲曲襲自詩詞傳統之抒情手法意境呈現與意象運用對於抒情效果強化所產生的作用。其次，筆者分析了明清傳奇藉由人物刻畫所帶動之「抒情的戲劇化」問題，並進一步探討明清劇論中所謂「傳神」、「肖情」說之著眼點與所提出之呈現要求，以期能彰顯明清傳奇作家在人物刻畫上的成就。

Lyricism and Characterization in

Ming-Qing Chuanqi Drama

WANG Ayling

　　The literary characteristics of Chinese drama are formed within the traditions of lyricism and narrative. Inheriting lyrical skills from Chinese classical shi and ci poetry, the Ming-Qing dramatists, on the one hand, created “poeticized” dramatic situations wherein “scene and feelings blend together” to fully elaborate the expressiveness of Chinese drama. On the other hand, they built up their new dramatized expressive modes by intensifying the sense of plot and structure. While the narrative part becomes the central motif of a composition, a new factor of the narrative structure is introduced, which is the “story interest.” However, the lyricism in Chinese drama is different from that of Chinese shi and ci poetry. The dramatic verse is not simply direct expression of the playwrights' inner feelings, rather, by way of dramatic performances, the presentation or embodiment of the characters' “externalized” feelings.

　　Owing to the Ming literati's participation in the writing of classical Chinese drama, and their gradual realization of the concepts of “structural design” and “thematic consciousness,”Ming-Qing chuanqi drama started to require a kind of unified “literary presentation,”which increased the literati's imaginary and creative space. Following this great interest in dramatic theme and plot, the Ming playwrights and dramatic critics naturally paid more attention to characterization and the analysis of dramatic characters－the subjects of actions in a play, than their precursors in the Yuan dynasty. This paper attempts to take the play-writing, the stage performance and the performing art as its objects, to analyze the significance of characterization in dramatic presentation. I have demonstrated the methods of lyrical expression and the constructional bases of Chinese lyricism. I have also explored the artistic designs of“lyric intensification” and the “dramatization of lyricism” enhanced by characterization in Chinese drama. Finally, I have discussed the foci and significance of the chuanshen and xiaoqing ideas in Chinese dramatic criticism.

Key words: drama theory 　　　Ming-Qing drama　　　 lyricism

　　　　 poetic drama 　　　characterization 　　　　typification

　　　　 individualization