中國文哲研究集刊 第十三期

目 錄

Number 13      September 1998

──兼及〈笠閣批評舊戲目〉的作者問題

華     瑋

　　This article investigates the problem of authorship of Ts'ai`tzu Mu-tan-t'ing (also known as Chien-chu Mu-tan-t'ing), an annotated edition of T'ang Hsien-tzu's Mu-tan-t'ing, or Peony Pavilion, printed by“Li-ke yu-weng”during the Yung-cheng reign of the Ch'ing dynasty. The annotator was a female alias“Ah-p'ang.” After a careful cross-examination of Shih Chen-lin's Hsi-ch'ing san-chi and of Ts'ai-tzu Mu-tan-t'ing, I have found sufficient proofs to conclude that“Li-ke yu-weng”was none other than the dramatist Wu Chen-sheng (1695-1769) and that“Ah-p'ang”was his wife Ch'eng Ch'iung; Ts'ai-tzu Mu-tan-t'ing was co-authored by this couple. Based on Ch'eng's work Hsiu mu-tan, this book includes commentaries on the Peony Pavilion by both husband and wife, and appendixes most likely written or compiled by Wu when he prepared the manuscript for print.

　　Extremely rare nowadays as it is, Ts'ai-tzu Mu-tan-t'ing has only been briefly mentioned by very few contemporary drama scholars. It is an unorthodox and extraordinary commentary on T'ang Hsien-tzu's well-known play. Treating it as a text on se-ch'ing, or sensual love and desire, the annotators marked all the glossaries in the text that have sexual connotations, elaborated on his or her views on ts'ai (talent), se (sensual beauty), and ch'ing (love), and attacked the unnatural stringency of Neo-Confucian orthodoxy.

　　This article, being the first in a series of discussions on Ts'ai-tzu Mu-tan-t'ing, has three main parts: first, an introduction to the editions and contents of Ts'ai-tzu Mu-tan-t'ing, second, a list of evidence which can help determine the authorship of this book, and third, an account of the authors' lives.

Key words: Chinese drama criticism　　　 Ch'ing women's literature

　　　　　Ch'eng Ch'iung　　　 Wu Chen-sheng　　　 T'ang Hsien-tzu

　　　　　The Peony Pavilion

明清抒懷寫憤雜劇之藝術特質與成分

王 璦 玲

　　明人以雜劇遣懷諷世，始於王九思（1468-1551）《曲江春》，其後徐渭（1521-1593）的《四聲猿》，王衡（1561-1609）的《鬱輪袍》、《真傀儡》，沈自徵（1591-1641）的《漁陽三弄》等，亦皆借劇作以排遣憤世嫉俗之情。逮入清後，則又有尤侗（1618-1704）的《讀離騷》、嵇永仁（1637-1678）的《續離騷》、張韜（1678年在世）的《續四聲猿》、桂馥（1736-1805）的《後四聲猿》等。此類作品特有的劇作審美特質，《盛明雜劇》一書所附數篇序言，蓋已論及。如袁幔亭（1592-1674）云︰「雜劇，詞場之短兵也。或以寄悲憤、寫跅弛，紀妖冶、書忠孝，無窮心事，無窮感觸，借四折為寓言，減之不得，增之不可，作者情之所含，辭之所畫，音之所合，即具大法程焉。」徐翽也說︰「今之所謂北者（按︰此所謂「北」者，指雜劇言），皆牢騷骯髒，不得於時者之所為也。」「牢騷骯髒」四字不唯指作者之憤懣，亦是說此種憤懣之情積在作者胸中，必待去之而後快。總括而言，本文所謂「抒懷寫憤」雜劇，主要是就作品的創作目的與內涵取類，這其中所涵蓋的明清雜劇作家，包括︰康海、王九思、馮惟敏、徐渭、陳與郊、徐復祚、王衡、沈自徵、吳偉業、尤侗、陸世廉、鄭瑜、鄒式金、鄒兌金、王夫之、嵇永仁、廖燕、裘璉、張韜、桂馥等。

Tsa-chu Drama

WANG Ayling

　　It has been a notable trend for the Ming-Ch'ing tsa-chu writers to express their self-lament and self-assertion by playwriting since Wang Chiu-szu (1468-1551) wrote his play Ch'u-chiang-ch'un. Besides the famous Ming dramatists Hsu Wei (1521-1593), Wang Heng (1561-1609) and Shen Chih-cheng (1591-1641), Ch'ing playwrights like Yu T'ung (1618-1704), Chi Yung-jen (1637-1678), Chang T'ao (ca. 1678) and Kuei Fu (1736-1805) all conveyed their laments of frustration and laid claim on high ideals in their plays. Conducted by the authors' motivation of self-lament and self-assertion, these special plays became vehicles of self-representation for the dramatists. While these plays were featured with the authors' self-expression, they transformed the authors' personal yearning and persistence for self-realization into an earnest wish for meaningful life which was greatly echoed by the reader or audience. In order to intensify these feelings to a sensory, effective artistic form, the dramatists employed the skills of“emotion crystallization”and“plot condensation”in their dramatic design to create a“lingering”poetic state with endless vitality. With the authors' purpose of self-depiction, the lyrical tsa-chu drama's“shortened and animated”quality has highlighted its subjectivity with an intellectual and introspective touch. These plays' strong self-expressive tendency was evidently opposed to the highly dramatized development of the Ming-Ch'ing ch'uan-ch'i drama. By integrating their personal awareness of self-existence into the contrived or historical stories, the tsa-chu authors thus presented subjective lyrical themes through dramatic forms. In other words, since the authors' self-representation is the focus of the whole play, the dramatic characters are usually personification of the author's lyric-self. The Ming-Ch'ing lyrical tsa-chu plays, in this sense, are entirely different from the highly dramatized ch'uan-ch'i plays in which the authors' subjectivity is obviously detached from the dramatic characters' individuality. This difference of introversion and extroversion between Ming-Ch'ing tsa-chu and ch'uan-ch'i drama explains why the subjective lyrical tsa-chu drama became a special type of drama-series for self-representation.

Key words: Ming-Ch'ing　　 tsa-chu　　 drama　　 lyricism　　 subjectivity　　

　　　　　ch'uan-ch'i 　　self-representation　　 autobiographical

　　　　　dramatic lyrical

北宋題人像畫詩析論

衣 若 芬

Poetry in Northern Sung Colophons

I Lo-fen

　　This essay aims to analyze the creative intentions and implied meanings of literary people in the Northern Sung as they wrote inscriptions on portraiture. On the basis of the nature of the painting and the content of the writings, the essay is divided into three parts: inscriptions for portraiture of oneself; inscriptions for portraiture of contemporaries (taking the case of the Five Elders of Sui-yang as an example); and inscriptions for portraits of men of antiquity.

　　The author has discovered that when the literary men of the Northern Sung wrote inscriptions for portraits of themselves, they did not necessarily focus on whether painterly skills had succeeded in representing the subject accurately and thereby conveying his spirit, but rather dealt with it in terms of“looking at myself, I am not really myself.” When two“I's”reflect upon each other, the writer sighs about the transience of personal, bodily existence. Painting, too, is not made of stone or metal but is relatively transient. These sentiments inspire an imaginative network on the themes of the simultaneous semblance of portrayed individual existence to reality and to illusion

　　The part about inscriptions for contemporaries uses for its main example the “Picture of the Five Elders of Sui-yang,”a group of verses which was used most often in the colophonic poetry of the time. It can be discovered through investigation that the time of the feast at which the Five Elders of Sui-yang, headed by Tu Yen, gathered was somewhere between 1047 and 1050. By 1051, there already was a“Picture of the Five Elders of Sui-yang,”not long after this meeting took place. The authors of the colophon to this “Picture of the Five Elders of Sui-yang”probably had personal acquaintance with these five elders or their descendants. The themes of continuing prosperity and longevity associated with the five elders resigning their official position and returning home in glory was what the authors respected and admired. This is the idea that surrounds the“Picture of the Five Elders of Sui-yang.”

　　As for writing inscriptions about men of antiquity, most colophons were written about portraits of literary people; with such favorities as T'ao Yuan-ming, Li Pai and Tu Fu, the painters were good at extracting graphic elements rich in symbolic meaning in order to create a literary atmosphere. The authors indulge in language full of flowery virtuoso, so that the literary atmosphere can be represented in written language, casting into fixed form the literary achievements of the entire life of the person portrayed, and expressing veneration and devotion to their literary predecessors.

Key words: Northern Sung　　　 portraiture poetry　　　 portraiture

　　　　　Self-inscribed portraiture of oneself

　　　　　Picture of the Five Elders of Sui-yang

劉 基 詩 論

周 群

A Discussion of Liu Chi's Poetry

　　Liu Chi was an important official during Chu Yuan-chang's time. He also was a famous writer good at both poetry and essays in the Ming Dynasty. His poems were known to be as good as Kao Ch'i's. He wrote Fu-pu chi at the end of the Yuan Dynasty. His poetry had some dreary and sad sentiment even when he described beautiful landscape. The works in his later life were collected in Li-mei Kung chi which represented his miserable and dreary life in old age. Fu-pu chi was better than Li-mei Kung chi. Li-mei had a strong romantic color although most of the poems in it were written in straitened circumstances. Liu Chi's poetry displayed clear resemblances to Tu Fu's and Han Yu's. Actually, Liu Chi was the pioneer of the Ming Dynasty doctrine of going back to the ancients, which lasted for 300 years.

Key words: Liu Chi　　　 poetry

玄學與形神思想

戴 璉 璋

TAI Lian-chang

　　The term hsing-shen (form-spirit) thought refers to a kind of thinking, which began before the Ch'in. As it discusses questions of life, this mode of thought makes an effort to keep both the physical form and its spiritual aspect as the focus of discourse. As far as the present author can tell from his studies, this kind of thought underwent a great change by the time it developed to the Wei-Chin and Northern-Southern Dynasties. Not only was the domain of discourse extended, but the styles of thinking also multiplied. This article considers such examples as : Chi K'ang's doctrine of nourishing life by the mutual intimacy of material form and spirit; Hui Yuan's Buddhist doctrine of the non-destruction of the spirit when the material form has come to an end; and the painterly doctrines of Ku K'ai-chih and Tsung Ping on using the physical form to portray the spirit. In this way, the present author highlights such principles of hsuan-hsueh as “return to nothing to complete positive existence,”“exalt the root and relieve the branches,”as well as“illuminate the substance (non-being) with the appearance (beings).” Moreover, this article points out that such principles of hsuan-hsueh allowed the hsing-shen discourse of people such as Chi K'ang to bring thought to a higher level, and to strengthen and deepen the philosophical and ethical teachings of yi-li. The cultural achievements of the discourse on hsing-shen by people such as Chi K'ang brought hsuan-hsueh to fruition, and manifested its rich and deep significance.

Key words: hsuan-hsueh　　　 hsing　　　 shen 　　　yu　　　 wu

孟子王霸之辨重探

李 明 輝

Mencius'   Distinction between the Kingly

Way and the Hegemonic Way Reexamined

LEE Ming-huei

　　The distinction between the “kingly way” (wang tao) and the “hegemonic way” (pa tao), a focal point of Mencius' political philosophy, has incited various discussions and disputes. A major controversy, among others, involves the following question: whether this distinction is a matter of degree or a matter of essence. This author proposes the latter, because such a distinction is logically implicated in Mencius' differentiation between “rightness” (i) and “profit” (li). Mencius' distinction between the kingly way and the hegemonic way denotes a viewpoint of “Gesinnungs-ethik,” which, while presupposing the heterogeneity of the “good,” may involve the principle of utility as a derivative moral principle. In the debate between Chu Hsi and Ch'en Liang over the historical status of Han Kao-tsu and T'ang T'ai-tsung, therefore, Chu Hsi better uncovered the connotation of Mencius' distinction between the kingly way and the hegemonic way. Confronted with Ch'en Liang's challenge in terms of the historical actuality of “tao,” Chu Hsi argued that the deeds of Han Kao-tsu and T'ang T'ai-tsung had already embodied the “tao” in a tacit manner. Nevertheless, unlike Kant and Hegel, Chu Hsi did not move forward to deal with the issue of human desires as a motive force of history. Chu thus left hidden an important dimension in Mencius' political philosophy, which has continued to arouse queries and debates.

Key words: rightness and profit　　　 kingly way and hegemonic way

　　　　　Gesinnungsethik

《莊子》中的大木形象與意象思維

王 鍾 陵

Thinking in Chuang Tzu

WANG Zhongling

　　This essay discusses the appearance of a cluster of images in Chuang Tzu. It illustrates, through analysis of the four tall trees in the chapters, “Travelling About,” “In the World” and “Mountain Trees,” the characteristics of profound thinking in terms of images, and briefly expounds the pattern of human thinking that developed from the age of poetry to that of prose. The essay shows that only when we see the association of Chuang Tzu with mythological thinking and primitive consciousness, make a clear distinction between them, and associate Chuang Tzu with such background as the transition from poetry to prose, can we have a profound knowledge of the way of thinking, the special expressions, the literary style and the characteristics of language, which are applied in Chuang Tzu. This author regards the above as a profound and holistic breakthrough in research on Chuang Tzu.

Key words: tall tree　　　 image profound thinking　　　 the age of poetry

　　　　　the age of prose

陳     寧

in the Han-Wei and Six Dynasties

CHEN Ning

　　Where there is a doctrine of the morally good to be blessed or rewarded, there is a conflict between theory and reality, for in reality it is not necessarily so. This problem, often called “the problem of evil” or of “theodicy” in Western tradition, is a universal one, but its existence in Chinese tradition has somehow been neglected by Max Weber and by later Sinologists. This article argues that this problem was not only present throughout Chinese intellectual history but also widely discussed among the educated elite particularly in the Han-Wei and Six Dynasties; and that such a problem, as a corollary of what Weber calls “rationalization,” was generated by the notion of moral determinism which can be found in Confucianism, Taoism and Chinese Buddhism. In this article, all solutions to that problem are categorized into two groups, namely, “moral deterministic answers” and “anti-moral deterministic answers.” Debate among the elite and the significance of the debate in Chinese intellectual history are also analyzed in this article.

Key words: rationalization　　　 theodicy　　　 the problem of evil

　　　　　moral determinism

《公羊傳》稱賢事例的價值判斷及其意義

張 美 櫻

Kung-yang chuan

CHANG Mei-ying

　　Shan viewed in light of the flexibility principle in the classics can be highlighted as a good end for the state brought about via such flexibility. It is a temporary compromise between the ideal and the reality when there are conflicts. Such compromise is made with a purpose to bring about an absolute good end for the troubled state. Flexibility is considered acceptable only when it aims at leading the state back onto the “right path.” What is “right,” then? The criterion is still li, propriety. Whatever complies with propriety is right.

　　Among the cases Kung-yang chuan praises as virtuous in a manifest way, one perceives conflicts between reality and ideal in the events involved. The way Kung-yang chuan deals with such conflicts does not involve an either-or choice between reality and ideal. Instead, it accepts temporary appropriateness in reality and makes up for such compromise by directing the reality toward the ideal. If it is viewed as a compromise to accept reality as it is temporarily, such compromise shall be conditioned by the fact that it is based on li, propriety.

Key words: value judgment　　　 yielding the throne　　　 flexibility　　　 li