「美典」內外—高友工學思之旅臆解

高友工是匠心獨具、極富魅力的古典文學研究者。誠如學者所言，高友工將陳世驤的「中國抒情傳統論」發揚為一「龐大的認知體系」及「嚴絲合縫的世界觀」；其唐詩考論與文學之審美經驗的探索，曾在台灣學界引發「高友工震盪」；繼後又以「美典三篇」：1988年出版的〈試論中國藝術精神〉、1991年的英文論文〈中國抒情美典〉，與2002年的〈中國文化史中的抒情傳統〉，完成「中國抒情美典說」的建構。他的論述精微而玄深，紆曲卻又開闊，為後學打開了中國文藝研究的新通道。關於高友工的學理規模與論述邏輯，筆者已有專文闡述。本文另闢蹊徑，從知人論世的視角出發，以高友工的生平境遇、學養歷程與學術志業作為主要研究對象。藉由接合其身世與美學理念的階段性構成，一方面考掘高氏從語言學到文學之轉向、對「文學批評」與「人文教育」意義之思考軌跡，以及由「經驗」轉進「境界」的生命體察；另一方面，也藉此穿透「抒情美典」的理論框架，在高氏對新儒家、分析哲學等方法論的運用與偏離之外，一窺其始終如一地，對於社會脈絡與現實意義的重視，以及於人文精神之彰顯的深層意蘊。

關鍵字

高友工；高而公；美典；境界；人文教育

並列摘要

An astute, charismatic scholar of classical Chinese literature, Kao Yu-kung (Gao Yougong, 1929-2016) expounded on Chen Shih-hsiang's idea of the Chinese lyric tradition into an ＂immense cognitive system＂ and ＂an impeccable world view＂, as other scholars have it. His explorations into Tang poetry and literary aesthetics once generated a ＂Kao's shockwave＂ in the Taiwan academia. His three articles on the issue in 1988, 1991, and 2002 lay the foundation for his theory of ＂Chinese Lyric Aesthetics＂. His profound, but no less thorough, arguments opened up a brand new avenue for the studies of Chinese literature. In a previous article, I have examined the scale and underlying logic behind Kao's scholarship. This paper, on the contrary, approaches it from the perspective of his life and work, investigating his experience, intellectual upbringing, and the academic path that he had chosen for himself. Through a combined analysis of his formative life experiences and the conception of his ideas in aesthetics, it studies Kao's turn from linguistics to literature, the development of his thoughts in literary criticism and humanity education, as well as his transition from life's ＂experience＂ into its ＂realm＂. Going beyond the theoretical framework of ＂lyric aesthetics＂, it discusses Kao's use and deviation from neo-Confucian and analytic philosophy methodologies, shedding light on his unswerving emphasis of the social construction of reality and the significance behind the manifestation of humanity.