以「聲音」與「六朝」為關鍵詞,本文旨在深入晚清民初有關「言」、「文」關係的討論,重新分辨古典與現代文學之間的傳承與轉折。本文擷取晚清民初的三組人物作為研究對象,討論清代漢宋之爭中,伴隨著考據學而興起的「聲音之學」如何介入「文學」的重新定義,重組「語言」與「文學」的關係,使得「六朝文學」作為文學典範被重新納入文學正統之中;而晚清學人對於清代以來「言文關係」的進一步闡發,一方面回應著其時主張「言文一致」的白話文運動,另一方面也使得六朝文學得以與新文學產生對話;最後,魯迅將個人的生命經驗、六朝文學的體會、以及清代小學的繼承與理解,融入在其現代文學的寫作中,使得古典與現代之間開啟了溝通與轉化的可能。 首章緒論通過梳理前輩學者在「言文」問題上的洞見與不見,認為晚清民國的種種有關文學現代化討論中,「言文合一」除了標示「白話」對「文言」的取代之外,還存在不同的面貌與可能。因此,本文將結合「關鍵詞」研究與「系譜學」分析,深入晚清民初對於「六朝」與「聲音」的想像與建構,重新審視「文學」作為流動的認識範疇,在歷史變動時期的多元聲音。 第二章則分梳晚清時期「六朝文學」的雙重意義,由此推證「聲音」與「文學」在晚清語境中的兩種不同認識角度。一方面阮元將戴震以來的「聲音之學」延伸到文學的討論中,提舉六朝駢文與文學理論,以「聲音韻藻」重新定義「文學」的性質;另一方面,以張之洞為代表的晚清士人則召喚「聲音之道與政通」的詩教觀,將國朝衰落歸因於六朝詩風興起。晚清詩人沈曾植則提出「活六朝」以綜合二者,從而使六朝文學成為會通駢與散、古與今的重要文學資源。 第三章以章太炎、劉師培、黃侃等人對於言文關係的闡發為焦點,討論他們對清人的小學研究接續與創造。作為皖派學者,他們一方面將傳統小學與西方實證主義語言學相結合,以探究中國語言文字;另一方面則重新闡發六朝文論,從古典的角度回應時代「言文一致」的呼聲,從而使六朝文學文論與現代文學之間有了對話的理論基礎。 最後第四章重點分析魯迅對章太炎、劉師培的文學觀念的繼承與創造性轉化,並由此勘探六朝文學的聲音如何經由論述與想像,介入現代文學的創作實踐。從魯迅早起的文學理論中,可見他將古典的「心」、「志」傳統與西方浪漫主義詩學嫁接,並由此提出「心聲」的概念。作為魯迅文學思想中的重要概念,「心聲」與魯迅對於「魏晉風度」的闡發有所關聯,並且具體表現為「師心使氣」與「隱而不顯」的雙重性。而「魏晉風度」也正是在這一層面上呼應了魯迅置身政治現實與革命理想破碎的虛無,以及他置身其中所感到的劇烈矛盾與痛苦,進而表現為他對於六朝「傷逝」傳統的創造性分解與轉化。
With the keywords "sound" and "wen", this thesis aims at exploring the relation between classical and modern literature by re-examining the discussions around yan (speaking) and wen (writing). I take three groups of figures from Late Qing to Early Republican China as examples to illustrate how the heritage of Six Dynasties literature was used to redefine the essence of wen and participated in the construction and transformation of Chinese literature in Late Qing and Early Republican China. The second chapter explores two kinds of interpretation about Six Dynasties literature in Late Qing, by which I prove that there were two distinct perspectives of sound in Late Qing. For one thing, Ruan Yuan extended Dai Zhen's theory of sound in Phonology to literary criticism and took rhythm as the essence of literature; therefore, he set pianwen (rhythmical prose) of Six Dynasties as the paradigm of literature. For another, with the Confucian view of sound which emphasizes that sounds in literary works can reflect and influence political condition, Late Qing literati represented by Zhang Zhidong attributed the decline of Qing to the prevalence of Six-Dynasties-style poems. However, Shen Zengzhi, a Late Qing poet, raised the theory “Huo Liuchao” (literaly, living Six Dynasties) to appreciate the achievement in literature and philosophy in Six Dynasties, which redetermined the value of Six Dynasties literature beyond those oppositions. The third chapter focuses on the literary theories of Zhang Taiyan, Liu Shipei, and Huang Kan. As scholars of Wan, they inherited the tradition of Philology and Phonology studies in Qing Dynasty. But different from their progenitors, they combined traditional studies of sound and text with Western positive linguistics, and in the meantime responded to the demand of unifying speaking and writing by re-interpreting the literary theories in Six Dynasties, especially Wen Xin Diao Long. Their discussions laid a theoretical foundation for transforming Chinese literature. The final chapter mainly discusses how Lu Xun creatively transformed Zhang Taiyan and Liu Shipei’s theories of wen (text and literature). His idea of “xinsheng” (sound of heart) is a combination of Six-Dynasties literary concepts, European Romanticism and Nietzsche’s idea of Übermensch. And the “sound of heart” should also be understood with the double meanings of Weijin fengdu (Wei-Jin Demeanor) –Shixin Shiqi (Following the heart) and Yiner bu xian (Concealing the heart) –which resonates with Lu Xun's acute sense of pain and nothingness when he faced the cruel political reality and the collapse of the revolutionary ideal. Therefore, he integrated the Six-Dynasties’ tradition of Shangshi (Mourning for the dead) into his writings, and began a new important tradition in modern Chinese literature.