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《文選》雜體詩歌文體性質研究
洪
順
隆
提
要
《文選》詩歌支類有〈雜歌〉、〈雜詩〉、〈雜擬〉三種雜體詩歌。由於研究六朝詩歌文類的需要，本論文就「雜」的概念、「雜」的現象、類聚群分的因素、題材類型等幾個角度，加以研析和論述。發現「雜」是「既非一骨」、「固亦二體」。三支類的雜，同中有異，而「雜」的現象也不盡相同。大體言之，有篇什個體內容之雜和支類體類形式內容均雜的現象。既然類體現象雜，又何以類聚成群呢？研究的結果，發現由於個體內容雜，與《文選》詩歌其他支類類似點模糊，無所歸屬，編者將無所歸屬的篇什綜合為一支類，以「雜」為類名，「雜」成為三支類自己篇什群分類聚的因素，也成為與其他支類群分的因素。其各自類體的分子間之雜，乃由此形成。而三支類之分，乃因「雜」的共性之外，〈雜歌〉以「可歌」為類聚因素（用途）；〈雜詩〉以「徒詩不歌」而與〈雜歌〉分；類聚因素是內容形式都雜（內容為主）；〈雜擬〉則以其「擬」的表現形式為類聚因素，並藉之與〈雜歌〉、〈雜詩〉群分。如果我們由題材視點看，三支類各有題材類型群，且體材類型互相交叉，這就是三支類的文體性質。這篇研究，不但揭露《文選》中〈雜歌〉、〈雜詩〉、〈雜擬〉三支類的文體性質，且提供統一視點文類研究（包括形式、題材等方面）以堅實的基礎，具有積極進步的意義。（如由題材視點看︰《文選》中〈雜歌〉有敘事系統中的「遊俠詩」、「建國史詩」、「征戍詩」等，又有抒情系統中的「愛情詩」；〈雜詩〉有抒情系統中的「愛情詩」、「友誼詩」、「親情詩」、「狹義詠懷詩」、「田園詩」、「山水詩」、「隱逸詩」、「詠物詩」等，又有敘事系統中「詠史詩」、「邊塞詩」、「征戍詩」、「狹義敘事詩」等；〈雜擬〉有抒情系統中的「愛情詩」、「親情詩」、「狹義詠懷詩」、「詠物詩」、「山水詩」、「遊仙詩」、「玄言詩」、「田園詩」等，又有敘事系統中的「詠史詩」、「遊俠詩」、「征戍詩」、「狹義敘事詩」等，就是由題材統一視點分析所得的成果。）
A Study of
the Style of the “Miscellaneous”
categories
in the Wen Hsuan
HUNG
Shun-lung
Three interesting “Miscellaneous”
categories are found in the poetry of the Wen Hsuan: the
Miscellaneous Songs, Miscellaneous Poems, and Miscellaneous Imitative
Poems. This research analyzes and explains the concepts,
characteristics, principles of categorization, and themes of these
works, thus contributing to the understanding of Six Dynasties
literature. The Miscellaneous categories are heterogeneous not only in
that they do not correspond to standard categories, but also in that the
range of individual works within each category is quite diverse. Why are
writings that differ so greatly from each other placed together? This
research attempts to identify the nature of the incongruity between
these works and other poems, either in style or in content. This
incongruity explains why the poems were grouped together in the
editorial process and termed “miscellaneous.” Nevertheless, common
features can still be found among them: The Miscellaneous Songs are
poems composed for singing; the Miscellaneous Poems comprises poems that
cannot be sung; and the Miscellaneous Imitative Poems are poems composed
through imitation. From a thematic perspective, each of the three
categories has its own theme, but shares stylistic features with the
other two categories. This is the peculiar feature of the Miscellaneous
categories.
By exploring the nature of these three categories, this paper
provides an interesting perspective on the categorization of literature
in terms of formal features and theme. In terms of theme, in the
Miscellaneous Songs we find a narrative approach in poems such as
“hero poems,” “state-building poems,” and “war poems.” In
the Miscellaneous Poems, we find a lyrical approach in poems such as
“love poems,” “friendship poems,” “kinship poems,”
“narrow-sensed expressions of feeling poems,” “idyllic poems,”
“landscape poems,” “hermit poems,” and “article poems” on
the one hand, and a narrative approach in poems such as “history
poems,” “frontier poems,” “war poems,” and “narrow-sensed
narrative poems” on the other. The Miscellaneous Imitative Poems
display a lyrical approach in poems such as “love poems,” “kinship
poems,” “narrow-sensed expressions of feeling poems,” “article
poems,” “landscape poems,” “wandering immortals poems,”
“mystery poems,” and “idyllic poems,” and a narrative approach
in poems such as “historic poems,” “hero poems,” “war
poems,” and “narrow-sensed narrative poems.”
Keywords: Wen
Hsuan Miscellaneous
Songs Miscellaneous
Poetry
Miscellaneous Imitative poems
theme
lyric and narrative
男性情色幻想的美典──溫庭筠詞的女性再現
張
淑
香
從流行歌曲的消費與慾望、性別、意識形態、文化制作的互動關係此一思考架構來探討飛卿詞中的女性再現之美學策略及其涵蘊的性別意義，可以發現飛卿詞以製作艷麗的女性肖像為特色，其目的乃專為滿足當時流行歌曲的製作者與消費者――男性――的快感與需要。
就飛卿詞的空間表現而言，閨閣、畫樓與庭院這些孤絕疏離的女性生活場域，並非真實自然的空間，而是針對男性慾望有意構設的「藏嬌之所」。這些空間或強調視覺的掩蔽與揭現，或突顯其高聳倚望的效果，或展現春來春去的物色變化，莫不為了迎合男性的色慾窺視、自戀心理、性別優越感與父權的意識形態。而就其女性意象而言，其妝扮與服飾、五官與身體、行動與情態、聲音與語言，也皆被再現為服役於男性慾望的統一制式類型。顯示了被束縛在男性象徵秩序框架中的女性形象，只是一種戀物，一種符徵，一種被權力與表徵的策略所支配的樣板構作。飛卿詞的這種再現策略，結合綺麗精緻的風格，正切合流行歌曲之標準化包裝女性情色為消費商品，提供感官刺激，即時消費，情慾想像與意識形態滿足的娛樂效應。這種特為男性全方位需要而訂做的女性肖像，不僅是男性情色幻想的虛構，也是一種性別政治的建構。以女性肖像作為娛樂消費的應歌背後，實隱藏著文化制作的玄機。
The
Aesthetics of Male Fantasy:
The
Representation of Women in Wen
T’ing-yun’s Tz’u Poetry
CHEUNG
Suk-hong
This article attempts to shed new light on the
representation of women in Wen T'ing-yun's Tz'u poetry by drawing
on theories of popular culture, consumption, psychoanalysis, and gender
studies.
Tz'u poetry is a form of popular song and
entertainment pertaining to woman. Written and consumed by men, Tz'u
poetry is a locus of gender politics and cultural production. I analyze
the artistic devices by which women are represented in Wen T'ing-yun's Tz'u
poetry to reveal its sexual and political implications. With their
characteristic visual imagery, delicate sensibility, distanced
objectivity, and implicit association, the exposition of settings and
the description of images of women in Wen T'ing-yun's lyrics are highly
standardized to serve the needs of the male consumer. In most cases, the
boudoir, tower, and garden are the typical settings in which women are
staged and confined. These feminine spaces not only isolate women from
the outside world, but are designed for obsessive male voyeurism and
possession. Moreover, the women in Wen T'ing-yun's lyrics are packaged
as a fetish commodity to satisfy men's institutionalized wants. Women's
clothes and ornaments, appearances and bodies, actions and gestures, and
voices and speech are all eroticized and objectified to gratify the male
gaze. When men consume popular songs, they also consume the images of
women in the songs and obtain satisfaction from their desire for women.
In this way, women are encoded as signs to fit men's psychological needs
and patriarchal narcissism, in which domination and subordination are
expressed. Thus in the disguise of popular song and entertainment, the
representation of women in Wen T'ing-yun's lyrics is actually a form of
power construction within patriarchal ideology.
Keywords: commodity
fetishism voyeurism
speculum
sign consumption
symbolic order
the pleasure of the text
由「形殘之迷」悟「神全之境」──論析當代戲劇
《徐九經升官記》、《美女涅槃記》
提
要
《徐九經升官記》和《美女涅槃記》是中國當代新時期兩部新編故事劇。《升官記》由郭大宇和習志淦共同編劇，《美女涅槃記》由習志淦編劇。一九九三年湖北漢劇團曾來臺公演，國立復興國劇團亦分別在一九九二年、一九九五年將這兩齣戲搬上臺灣京劇舞臺，可知其在海峽兩岸戲曲舞臺受到的關注與重視。這兩齣戲分別刻畫一個醜男、一個醜女，劇情著重點都以美醜為觀照，探討基石也同樣是「以貌取人」的議題，編導的處理原則都是「以醜為美」。就情節故事而言，題為《徐九經升官記》，其實是「徐九經罷官記」；題為《美女涅槃記》，其實是「醜女涅槃記」。而一個醜男究竟如何由貶官而升官而罷官，一個醜女又如何變成美女而臻於涅槃，二人心理意識的蛻變歷程正是本文意欲探討的論題之一。
題目「形殘」、「神全」之詞係從《莊子•養生主》轉化而來。莊子論形體之殘並非只就手足而言，亦包括面貌醜陋之人；而奇醜無比的徐九經、胡翠花，亦可納入《莊子》書中「形殘」人物，因此筆者加以轉用。
本文除前言、結語之外，分兩節論述。第一節即是從主角人物「貌醜形殘」的共同特點切入，探討徐九經和胡翠花雖然性別、身分、地位、際遇、困境及心理意識皆不同，但是他們都曾經自我認同的活著，而後走過自我迷失的沼澤，最後以意志抉擇神全，回歸真我。形殘是其「外在不美」之所在，神全則是其「內在美善」之所在，成為「不美之美」的人格塑造。
第二節論述這種「不美之美」的人格塑造，在腳色表演、滑稽特質、哲學思想三方所展現的藝術精神。由於當代新編戲為著力拓展人物的心靈空間、心理結構和生命意識，因而打破「生旦淨末丑」之腳色行當，這兩齣戲即深具如此特質；尤其徐九經更是結合「丑生」行當，淋漓盡致發揮司馬遷《史記》中的滑稽精神。最後以老子美醜善惡之辯證及莊子形神殘全之美學思考，探討這兩齣戲的主題意蘊。
徐九經和胡翠花由「形殘之迷」悟「神全之境」，都經過「見山是山、見水是水」的認同，到「見山不是山、見水不是水」的質疑，終於進入「見山是山、見水是水」的圓融。
The
Realization of Spiritual Perfection
through
Physical Deformity: On the Modern
Plays The
Promotion of Hsü Chiu-ching
and A
Beauty's Attainment of Nirvana
LI Hui-mien
The Promotion of Hsü Chiu-ching by Guo
Da-yu and Xi Zhigan and A Beauty's Attainment of Nirvana by Xi
Zhigan are two new modern Chinese plays that have won high acclaim on
both sides of the Taiwan Strait. They were staged in Taiwan respectively
by the Hupei Han Operetta Troupe in 1993 and by the National Fu-hsing
Chinese Operetta Troupe in 1992 and 1995. The Promotion of Hsü
Chiu-ching depicts the official career of an ugly man, depicting how
he experiences demotion, is later happily promoted, and eventually
decides to abandon his post. A Beauty's Attainment of Nirvana
relates how an ugly girl is transformed into a beauty and finally
attains the state of nirvana. Each play emphasizes the contrasts between
beauty and ugliness, the human tendency to judge people by their
appearance, and the creative theme that ugliness is beauty. This paper
explores the processes by which ugliness is transformed into beauty in
these two plays.
“Physical deformity” and “spiritual perfection,” the two
key notions in the title of the paper, derive from the Chuang-tzu.
Hsü Chiu-ching and Hu Ts'ui-hua can both be considered
“deformed” in the Chuang-tzu's sense, since deformity there
covers ugliness in addition to physical handicaps. This paper explores
the thematic implications of the two plays by way of the Lao-tzu's
dialectic of the beautiful and the ugly and the Chuang-tzu's
aesthetic thoughts on physical deformity and spiritual perfection.
This paper is divided into two sections. The first deals with the
ugliness of Hsü Chiu-ching and Hu Ts'ui-hua. Diametrically
different in sex, identity, status, experiences, predicament, and
psychological awareness, both experience a process of spiritual growth
in three stages. First they live in self-awareness; next, they
momentarily go astray; and then eventually they reach spiritual
perfection through their strong will power and regain their true selves.
Their ugly appearance turns out to be mere physical deformity, while
their inner beauty and goodness eventually bring them to spiritual
perfection. This process of transformation is the formation of
personality based on the notion of the beauty of the non-beautiful.
The second section discusses the aesthetics of this sort of
personality formation by way of role acting, clownish attributes, and
philosophical reflection. In emphasizing its characters' spiritual life,
psychological structure, and awareness of their own existence, modern
Chinese drama has attempted to transcend the traditional role types of sheng,
tan, ching, mo, and ch'ou. This trend is
manifest in the two plays under discussion, especially The Promotion
of Hsü Chiu-ching. Here the role types sheng and ch'ou
are aptly combined, and clownish humor, as described by Ssu-ma Ch'ien,
reaches its epitome.
Keywords: modern
plays physical
deformity spiritual
perfection
clownish humor
The Promotion of Hsü Chiu-ching
A Beauty's Attainment of Nirvana
從臺灣日據時期小說中「自然」的三種形態
看張文環〈夜猿〉的殊異性
江
寶
釵
提
要
本文探討日據時期小說呈現自然的三種方式，從此探討在〈夜猿〉中，透過敘述者與主要小說人物，張文環（1909-1978）如何省思自然與人的關係。於是，作者發現，奠基在利用厚生的基礎上，張文環於自然，發展出一種互相生息，多面遊偃的嶄新的視野，其中，甚至將自然視為不斷創生、發展意義的本體，此係日據小說中所罕見。
Nature in
Chang Wen-Huan’s
“Night
Monkey”
CHIANG
Pao-ch'ai
Taiwanese novels written during the Japanese reign developed
three views of nature. In these novels, nature is not only a place where
characters make a living and achieve a sense of local identity, but also
a medium through which to express emotion. In Chang Wen-Huan's “Night
Monkey”, however, the function of nature extends beyond these three
roles. Because the main characters are simple village people incapable
of reflecting on the implications of their lives, many ideas are
expressed through the dramatized narrator. Though its basic role is
still that of a life-sustaining environment, nature becomes a
transcendent entity that produces eternal values and psychological
freedom.
Keywords: nature
Chang Wen-Huan “Night Monkey”
Taiwanese novels
Taiwanese literature
Japanese reign
文體意識與文學史體例
葉
崗
提
要
針對綜合型通史式中國文學史撰述體例上的一般做法提出駁議。認為首先應該強化文體意識，加強文體的體裁、語體和風格三層面在文學史中的結構性地位，這是保持文學史的「文學性」的客觀基礎。其次，在確立歷時文體學的前提下，文學史撰述體例中的分期標準、評判文體價值的原則、「綜合型」與「通史式」的兼顧等問題才能得到妥當處理。
Stylistic
Consciousness and the Layout
of Literary
History
YE Gang
This article criticizes the received approach for
laying out Chinese literary history into a comprehensive, chronological
pattern. The author proposes that the objective foundation by which to
keep literary history “literary” is to emphasize stylistic
consciousness and the three stylistic levels-genre, tenor, and
style-that are of structural significance in literary history. Only once
a diachronic stylistics is established can issues such as criteria for
classifying different periods, standards for stylistic evaluation, and
joint consideration of comprehensiveness and chronology be treated
appropriately.
Keywords: form of
literary history literary
form genre
tone
style
以文為詩的觀念嬗變
吳
淑
鈿
提
要
自《後山詩話》載「以文為詩」一詞以來，後世詮釋不絕於書。直至現代，論者的視點仍主要集中在以散體文為詩的價值認同上，而體認以散文為詩的方式是歷來研究的重心。本文提出的研究進路，是必須將以文為詩的文體觀念與詩學觀念結合，在詩學的發展過程中考察文體的起源與變異的內涵，才能具顯它的意義。意義的構建又關係於唐、宋詩歌風格類型的劃分及中國詩歌本質範圍的肯定。本文以為宋代以後對以文為詩的接受過程，標誌著中國詩歌傳統生命的完成，故相關觀念的嬗變實有論述之價值。
Evolution of
the Concept of
“Prose as
Poetry”
NG Suk-tin
Ever since the phrase “prose as poetry” appeared in the Hou-shan
shih-hua, many interpretations of it have been offered in various
critical studies. Critics have attended mainly to the value of using
prose as poetry, and the emphasis of academic research has been on
recognizing the ways of using prose as poetry. This paper tries to offer
a different perspective on this issue, proposing that the concept of
genre in “prose as poetry” must be considered together with the
concept of poetics. The meaning of genre can be foregrounded only when
the significance of its origin and transformation is investigated in
light of the development of poetics. The construction of this meaning is
related to the differentiation of styles and forms of T'ang and Sung
poetry, and the definition of Chinese poetry also counts in that
construction. This paper holds that the reception of “prose as
poetry” after the Sung Dynasty marks the perfection of traditional
Chinese poetry, and thus the development of related concepts is of
paramount importance.
Keywords: concept of
genre concept
of poetics system
of norms
taste interrelation
between poetry and prose
consciousness of differentiating genre
從司馬遷《史記•太史公自序》看「漢代書序」的體制
──以「作者自序」為中心
車
行
健
提
要
書序之體，肇自先秦，迨及兩漢，發展益備，其中司馬遷《史記•太史公自序》具有承先啟後的重要地位。本文以司馬遷〈太史公自序〉體制之分析為基點出發，再透過對其他現存的漢代書序（以作者為其自撰之書所作的書序為主）的歸納整理，從而發現漢代作者自著書之書序，基本上皆大致體現了某些共同的體制與特色，其中包括︰一、敘述作者家世先祖及其生平事蹟；二、闡述全書旨意和敘述著作該書的宗旨、動機；三、條其篇目，並撮述各篇之要旨；四、置於全書之末。除第四項是屬於外部的篇籍形式之外，其他三項皆關聯到書序本身的內在功能與要求。本文除討論這些體制的內涵、性質與功能之外，也嘗試解釋導致漢代書序「體制化」的原因與動力。
The
Structure of Han Dynasty Prefaces
in Light of
Ssu-ma Ch’ien’s Preface to
the Shih
Chi
CH'E
Hsing-chien
The book preface
emerged as a literary form in the pre-Ch'in period and developed
considerably in the Han dynasty. In the course of this development, Ssu-ma
Ch'ien's Preface to the Shih Chi played a pivotal role as heir to
the early tradition and a paradigm for later writers. The starting point
of this paper is an analysis of the structure of Ssu-ma Ch'ien's
Preface. Through an examination of this and other extant Han dynasty
prefaces (focusing on prefaces by the authors of the works themselves),
this study discovers that prefaces by Han dynasty authors all tend to
share a certain common structure and features. These include: (1) a
description of the writer's ancestry and major events in his life; (2) a
description of the main themes of the book and a statement of the aims
of the work and motivation for writing it; (3) a list of the contents of
the work, including the main point of each chapter; and (4) placement of
the preface at the end of the work. Aside from the fourth point, which
pertains to external, editorial form, the other three points all relate
to the function and requirements of the preface. In addition to
discussing the content, character, and function of this common
structure, this paper attempts to explain the reasons that led to the
structural standardization of Han dynasty prefaces.
Keywords: Ssu-ma
Ch'ien Shih Chi
prefaces author's
preface
楊慈湖心學概述
鍾
彩
鈞
提
要
學術界對楊慈湖研究大多著眼於其對陸象山心學的發展，本文則從慈湖的家學淵源來論述其發展。慈湖之父庭顯頗重視日常道德與改過的實踐，並本此而發展出理、無我、覺悟本心等理學思想。慈湖青年時代受其父影響甚深，在道德實踐上有同樣的項目，同樣的重視，只是相較於庭顯的出於生活反省，慈湖更重視讀經，將經學與實踐相參證。在心學思想上，慈湖的特色是重視覺悟的工夫，此外還有不起意、知及仁守、有無混一等重要思想。筆者最後將象山與慈湖的心學思想做比較，看出慈湖不僅發展了象山的概念，更重要的是走上了不同的方向。相對於象山的道德心，慈湖主張形上心，這種區別，一方面是家學的發展，另一方面也可能間接受到佛教的啟發。
Yang Chien’s Conception
of the Mind-heart
CHUNG Tsai-chun
Most studies of Yang Chien have concentrated on how his
conception of the mind-heart develops that of Lu Chiu-yuan. This article
investigates the sources of his thought in his family's learning. Yang
T'ing-hsien, Yang Chien's father, was devoted to the practice of
everyday morality and correcting errors, and on this basis developed
conceptions of li (pattern), elimination of the ego, and
enlightenment of the original mind-heart. Yang T'ing-hsien's influence
on Yang Chien is evident in that they proposed the same list of virtues
and had the same devotion to practical morality. However, compared with
T'ing-hsien's moral knowledge, which grew mainly out of reflection on
daily life, Yang Chien place more emphasis on studying the classics,
treating classical study and moral practice as complementary test of
moral cultivation. In his philosophy of mind-heart, besides emphasizing
practical training leading to enlightenment, Yang Chien developed
concepts such as “not arousing intention,” “reaching with
knowledge while guarding with humanity,” and “the unity of having
and not-having.” The last part of this article compares the philosophy
of mind-heart of Lu Chiu-yuan with that of Yang Chien. Yang Chien not
only developed Lu Chiu-yuan's concepts, but took them in a new
direction. For example, unlike Lu Chiu-yuan's notion of the mind-heart
as moral agent, Yang Chien explicated the mind-heart from a metaphysical
point of view. This sort of difference between the two thinkers is
partly due to the influence of Yang's family learning and may partly be
derived indirectly from Buddhist thought.
Keywords:
Neo-Confucianism School
of Mind-heart
enlightenment Lu
Chiu-yuan Yang
Chien
「超越」與「內在超越」──牟宗三與康德之間
鄭
家
棟
提
要
以「超驗」取代中世紀的「超越」，乃是康德哲學的著意之筆，由此阻塞了由知識直接通向形而上學與信仰的道路；牟宗三哲學的出發點，原是要通過扭轉康德而恢復「超越」的古義，在肯定人有「智知」（智的直覺、自由無限心）的前提下，重新賦予「超越」概念以某種存有、實有、實在的內涵，重建超越的存有論。但是，認同於康德主體主義的路向與徹底取消神、人之間的界限相統一，又使得牟宗三對於「超越」概念的理解與限定及其由此所展開的思想系統，似乎搖擺於前康德時代的超越存有論與後康德時代的人本主義哲學之間。
“Transcendence”
and “Immanent Transcendence”:
Between Mou
Tsung-san and Kant
ZHENG
Jiadong
Kant shifted the
meaning of “transcendence” away from Medieval usage, so that it
referred only to what goes beyond experience. This shift blocked the
path from knowledge directly to metaphysics and faith. The starting point of Mou Tsung-san's philosophy was originally to
alter Kant's usage
so as to recover the old meaning of “transcendent.” By affirming the
premise that human beings have intellectual intuition, Mou bestowed the
concept of transcendence with implications of existence, being, and
reality, and in this way attempted to rebuild a transcendental ontology.
However, the combination of his identification with Kant's subjectivist
approach and his complete denial of the boundary between the human and
the divine tends to make Mou's understanding and definition of the
concept of transcendent and the system of thought he developed from it
vacillate between pre-Kantian transcendental ontology and post-Kantian
humanistic philosophy.
Keywords: Kant
transcendence ontology
陽明後學的成員分析
黃
文
樹
提
要
本文整理了陽明後學的師承關係系統表，發現他們師承的網絡超越地域範圍非常明顯，且一人師事二位以上的情形不少；而目前有關陽明後學師承系統之研究文獻有部分內容待商榷。本文也分析了陽明後學的身分與科舉功名，分別作成統計表，一目了然。
陽明後學率多具備科舉功名的碩彥爵士，獻身政治與教育，除致力於官辦教育的興革之外，尤大力展開社會講學事業。他們實在是一個關係複雜而又結成一體的教育學派。
An Analysis
of the Membership of the
Yang-ming
School
HUANG
Wen-shu
This essay attempts
to chart tutorship relations among the later followers of Wang Yang-ming.
It finds that the tutorship network of the Yang-ming School clearly
extended beyond regional boundaries, and many scholars studied under
more than one teacher. Furthermore, some research on the tutorship
system of the Yang-ming School demands critical re-examination. The
essay also presents statistical charts depicting the status and honors
granted to scholars of the Yang-ming School under the imperial civil
service examination system.
Most scholars in
the Yang-ming School participated in the civil service examinations and
devoted themselves to careers in politics or education. Besides working
to reform the official education system, these scholars devoted
considerable effort to developing public education. They formed a highly
complex, systematic educational movement.
Keywords: Yang-ming
school tutorship
relations status
王
陽
明
與
周
易
戴
璉
璋
提
要
本文討論王陽明讀《易》的方法，並進而探究王氏在為學成德過程中運用《周易》精義的情形。筆者根據陽明〈讀易〉詩、〈玩易窩記〉、〈五經臆說〉等資料，再參以相關的語錄及文錄，勾勒出陽明讀《易》由「不得」而「得之」而「玩之」的心路歷程；並以「精義入神以致用」、「利用安身以崇德」兩句話來標示他的讀《易》方法。筆者指出陽明在《周易》中所把握到的要旨︰「體立而用行」，與其學說的核心思想――「體用一源」、「致良知」等，都有密切關係；從陽明讀《易》的方法中，也可看出其所以能在廣泛的知識領域裏取精用宏，以成就盛德大業，為儒家合外內之道立一典範的緣由所在。
Wang
Yang-Ming and the Book of Changes
TAI
Lian-chang
This article discusses Wang Yang-ming's approach to studying the Book
of Changes (Chou I or I Ching) in order to explore how
he employed the Changes in the process of learning and moral
cultivation. Drawing on materials such as Wang's poem “Reading the Changes,”
his “Memoir of Contemplating the Changes” and “Probable
Explanations of the Five Classics,” and related sayings and writings,
the article describes the stages of Wang's path in his study of the Changes,
from incomprehension to comprehension to enjoyment. Wang's method of
studying the Changes can be expressed in the maxims “the
meaning enters the spirit and thereby is applied in practice” and
“safeguarding the body in order to revere virtue.” The paper points
out that the key principle Wang finds in the Changes ─ “the
substance being established, the function is thereby put into
practice” ─ is intricately related to the core doctrines of his
philosophy, such as that substance and function have the same source and
that moral cultivation lies in the extension of innate moral knowledge (chih
liang chih). Wang's approach to the Changes also illustrates
his ability to grasp essential insights and apply them broadly in a wide
field of knowledge. In so doing, he demonstrates how to carry out the
project of moral cultivation and establishes a paradigm of the Confucian
tao (way) of unifying external action and inner cultivation.
Keywords: Wang Yang-ming
Chou I I Ching
Book of Change
extending innate moral knowledge (chih liang chih)
顧
頡
剛
與
錢
玄
同
林
慶
彰
提
要
本文從錢玄同和顧頡剛來往的書信中去探討兩人對傳統學術問題的看法。在論古書辨偽方面，錢玄同認為辨「偽事」比辨「偽書」重要，勸顧頡剛應將古書中辨「偽事」的篇章輯為一書，這個想法給顧頡剛的「古史層累說」不少靈感。在論六經性質方面，他們既不宗古文，也不宗今文，兩人都認為，孔子既未作六經，也未刪經。在討論《詩經》和《春秋》真相問題方面，認為《詩經》只不過是詩歌總集，根本不是聖經，讀《詩經》應從文章上去體會。《春秋》並非孔子所作，《左傳》則是《國語》的一部分。在討論古文層累說方面，顧頡剛以堯、舜、伯夷、叔齊為例，認為他們的事蹟本來都很少，後來才慢慢附加上去，所以古史往往是層層累積的，這就是著名的「古史層累說」。他們對某些學術問題的觀點並不完全正確，但可以看出當時學術思想變動的軌跡。
Ku Chieh-Kang
and Ch’ien Hsuan-T’ung
Lin
Ching-chang
This article examines Ch'ien Hsuan-t'ung's and Ku Chieh-kang's
views on problems of traditional scholarship as revealed in the
correspondence between the two scholars. In investigating ancient texts
and their authenticity, Ch'ien Hsuan-t'ung thought that identifying
“false events” was more important than identifying “false
texts.” He encouraged Ku Chieh-kang to collate sections of
ancient texts that identify false events and publish them as a
book-length study. This idea provided much inspiration for Ku's “layer
accretion” theory of ancient history. In their researches on the Six
Classics, the two scholars were followers of neither the Old Text nor
the New Text school. They believed that Confucius neither composed nor
edited the classics. In their studies of the Shih Ching and the Ch'un
Ch'iu, they held that the Shih Ching is simply a collection
of poems and songs, not a classic work of the sages. Thus readers should
approach the Shih Ching simply by seeking to understand the words
of the poems, rather than by reading philosophical messages into them.
Ku and Ch'ien also held that the Ch'un Ch'iu is not the work of
Confucius, and the Tso Commentary is simply part of the Kuo yu.
Ku's renowned “layer accretion” theory of ancient texts grew out of
his study of accounts of Yao, Shun, Po Yi, and Shu Ch'i. In early
sources, Ku contended, these figures were associated with very few
historical deeds; later texts then gradually embellishd and augmented
their careers. Ku's hypothesis was that, as these examples show, the
content of ancient history typically accumulates in a layer-by-layer
fashion. Ku and Ch'ien's views on certain scholarly issues were not
completely correct, but they provide fruitful material for tracing
developments in the scholarly thought of their time.
Keywords: Ku
Chieh-kang Ch'ien
Hsuan-t'ung Chinese
classics
New Text Old
Text Ku Shih
Pien
《易圖明辨》與儒道之辨
鄭
吉
雄
提
要
十七世紀中葉，受到明亡清興的震盪，儒者全面藉由回歸傳統的經典，從事新的研究工作。他們注意到原屬於道教的思想學說闌入儒學，尤其集中於《易》學之中，茲事體大，必須將儒道之間的界線劃分清楚。本文所稱的「儒道之辨」，指的就是當時儒者的這一項工作。胡渭《易圖明辨》一直被視為當時最具代表性、最能窮溯本末的一部《易》學著作。本文除前言和結論外，主要分為四個部分︰
1.介紹《易圖明辨》的寫作背景，以見胡渭生平及其進入儒道之辨論辯的歷程；
2.分析《易圖明辨》的整體撰著方法；
3.分析《易圖明辨》對《易》圖源流發展中重要的三個問題所作的分判；
4.分析「儒道之辨」的三個歷程，即「破」、「立」及「補」，以見《易圖明辨》一書在學術史上的位置。
結論認為，在「儒道之辨」的第一階段，學者直接攻擊北宋以降的《易》圖之學，著意於「破」而非「立」；胡渭《易圖明辨》標誌了第二個階段，為歷代《易》圖種種相關的學說尋覓其各自的源流歸屬，在這基礎上再行評價，亦即重在「立」而非「破」。第一、第二階段所未解決的關於朱子《易》圖思想的問題，歷經王懋竑及紀昀等學者的辨正，重在補充，則為第三階段。
I-t'u
ming-pien and the
Distinction
between
Confucianism and Taoism
CHENG Chi-hsiung
This paper discusses Hu Wei's I-t'u ming-pien and the
movement to distinguish Confucianism from Taoism in the mid-17th
century. In response to the collapse of the Ming dynasty and the
Manchurian conquest, Chinese scholars devoted themselves to rejuvenating
Confucianism to rebuild a new, stronger cultural and scholarly
environment. Part of their task was to purge the ideas and doctrines of
Taoism prevalent in the tradition of I-t'u study (the study of
diagrams used by traditional scholars to explain the I Ching and
its theory) since the northern Sung dynasty. The I-t'u ming-pien
was among the most well-known and influential works devoted to this aim.
This paper consists of four sections. The first describes the
historical background that led Hu Wei to write his book; the second
explores the analytical method of the book; the third discusses three
main problems in the tradition of I-t'u study and Hu's proposed
solutions; and the fourth analyzes the three main stages of the movement
to distinguish Confucianism from Taoism in the mid-17th century.
Keywords: Hu Wei
diagram figure
I Ching
《易經》「升降」與「反對」兩種卦變義例的考察
楊
自
平
提
要
本文主要是考察《易經》兩個主要的卦變義例──升降與反對，在升降義例的部分，以虞翻、朱子、李之才、吳澄為主，反對義例以俞琰為代表。虞翻承繼京房的八宮世應及荀爽的消息卦升降，建立出以六消息卦一爻主變的升降義例，然限制在於出現變例；李之才的「相生圖」在一陽一陰及三陽三陰之卦以一爻主變，在二陽二陰之卦則以二爻主變，其限制在於二陽二陰中出現一爻、二爻主變並行，故未成通例；朱子的卦變圖又擴充虞、李二子的規模，提出十消息卦的變化，使卦變結果多出一倍，其用意在充分展現卦變的所有可能，無關乎解經；反對義例主要藉著卦與卦的反卦、對卦關係解釋卦變，升降重在爻的變化，反對重在卦體變化，其限制在於未能建立通例。吳澄的卦變說將卦區分為十消息卦與六子卦所變，並依卦體的陰陽、內外結構作明確區分，整個卦變關係呈現對稱性結構，並合於完整卦變理論的三大要件︰（1）具普遍涵蓋性，不容許變例；（2）卦變來源必須單一；（3）印證經傳必須相合。基於這三點理由認定吳澄的卦變說為漢魏至宋元間較為良善的卦變理論，值得重新正視。
A Study of
Two Hexagram Alternation
Principles:
Rise-and-Descent and Opposition
YANG
Tzu-p'ing
This paper
discusses the two major types of hexagram alternation principles
proposed to explain the relationship between hexagrams in the I Ching:
rise-and-descent and opposition. The major proponents of the
rise-and-descent approach are Yü Fan, Chu Hsi, Li Chih-ts'ai, and
Wu Ch'eng;
the major opponent of this approach is Yü Yen.
As an heir to
the eight-hexagram generation-change theory of the Ching Fang
school and to Hsun Shuang's rise-and-descent theory, Yü Fan
proposed a six-hexagram rise-and-descent theory based on the alternation
of one yao line. However, his theory has a serious limitation, in
that it must admit exceptions to its general principle. Li Chih-ts'ai's Hsiang-sheng
Diagram offers two ways of mapping hexagram alternation, by alternation
in either one yao line or two yao lines, but his theory is
unsatisfactory in that it provides no single general principle of
alternation. Chu Hsi's Kua-pien Diagram is broader in scope than
either Yü's or Li's theory. It models hexagram alternation by ten
hexagrams and aims to offer a comprehensive account of all possibilities
of alternation.
In contrast to the
rise-and-descent principle, which explains alternation between hexagrams
through the alternation of yao lines within the hexagrams, the
principle of opposition explains hexagram alternation mainly by appeal
to opposition and correspondence between entire hexagrams. The
limitation of this approach is that it establishes no general principle
for hexagram alternation.
Wu Ch'eng's theory
distinguishes hexagrams into those that alternate according to a pattern
of ten rise-and-descent hexagrams and those that alternate according to
six descendent hexagrams. He categorizes hexagrams clearly on the basis
of their yin-yang characteristics and internal and external
structure. This paper proposes three criteria for a satisfactory theory
of hexagram alternation and concludes that among theories proposed from
the Han-Wei to the Sung-Yuan eras, Wu Ch'eng's theory best fulfills
these criteria.
Keywords: I Ching
raising and descending
opposition Yü Fan
Yü Yen Wu
Ch'eng
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