朱熹「淫詩」說中、日接受之比較：以十七至十八世紀為中心

「淫詩」說是朱熹《詩經》學中最受爭議的問題之一。對於朱熹《詩經》學在日本的流傳，圍繞「淫詩」說的研究並不多見。學界大多關注「鄭聲淫」與「鄭詩淫」等傳統論題的辨析，本文提出，朱熹「淫詩」說本身的理論框架與意義，及其在不同文化中的接受歷程，亟需進一步的研究。本文試圖重構「淫詩」說在作者端和讀者端──即「淫者自作」和「勸善懲惡」──兩方面的理論意義，並由此兩端梳理日本江戶時代古學派（即古義學派和古文辭學派）對「淫詩」說的批評，同時，亦由此兩端簡述明代中期以來中國學者對「淫詩」說的取捨。通過比較，可看出中、日學者對「淫詩」說的不同反應。本文在範圍上以「淫詩」說的批評或修正意見為中心；在時間上以古學派興盛的十七世紀至十八世紀為中心，而對中國《詩經》學的梳理，則略放寬時限，有時追溯淵源而略及宋末元初。

關鍵字

朱熹；淫詩；接受；日本；比較

並列摘要

Zhu Xi's conception of ＂licentious poetry＂ is one of the most debated issues in the study of the Book of Odes. However, few scholars devoted their research to that concept despite the dissemination and reception of Zhu Xi's studies in Japan. Some relevant traditional issues, such as differentiating ＂Zheng sheng yin＂ (literally ＂Zheng music is excessive＂) from ＂Zheng shi yin＂ (literally ＂Zheng poetry is licentious＂), had drawn most attention. Now it is necessary to re-examine the principles of Zhu Xi's theory of ＂licentious poetry,＂ and the reception of it in different cultures. The present essay revisits Zhu Xi's theory from two perspectives: the author and the reader. The former corresponds to the idea that ＂elopers themselves composed licentious poetry,＂ and the latter the idea of ＂encouraging the good and cautioning the evil.＂ From these two perspectives, this essay will investigate the criticism of Zhu Xi's concept of ＂licentious poetry＂ by Japanese Edo scholars as well as by Ming and Qing Chinese scholars. Different attitudes and assumptions in Japan and Chinese scholars will be demonstrated and compared. The investigation will be focused on the objection to or revision of Zhu Xi's theory, which will, thus, be limited within the seventeenth and eighteenth centuries when the Japanese Ancient School thrived. As far as Chinese scholarship is concerned, the limits will be extended to the end of the Song or the beginning of the Yuan in order to trace the origins of some disagreements.