唐宋派古文評點研究

本文主要從三個面向──經典建構與評點發展、文法分析、書寫閱讀與世界想像──分析唐宋派古文評點，此三面向著眼由外而內、由廣而深的思路，觀察分析古文評點由南宋至晚明的演化過程中，唐宋派古文評點的繼承與開創，進而了解明代前後期文論變化中，唐宋派文學理論的特殊性，最後試圖論及唐宋派古文評點中所呈現對世界的感知方式。唐宋派古文評點可謂明代文壇中一場具代表性的「典範」運動。就文學內在脈絡而言，唐宋派諸人透過評選唐宋文學作品，並提出相較於秦漢文更具體、可操作的文法體系，建立了由唐宋上溯秦漢的正典譜系；就評點家而言，其基於文學的競爭意識，評點家扮演裁判一職，既使經典建構運動落實化，又提升了讀者的地位。就外在環境而言，古文評點與明正德、嘉靖間再度發展起來的印刷術高度結合，形成了贈送、販售與傳抄三種通路的高密度傳播，古文評點就在象徵資本（文學聲譽與文人交誼）、經濟資本（商品文化）與教育體系三種脈絡下得到流通，蔚為潮流。就文法層面而言，透過羅蘭•巴特（Roland Barthes, 1915-1980）所提供語五種符碼之框架，本文發現唐宋派古文評點相當關注文本中各種語言功能，及其各自形成的效果。其中尤以闡釋符碼、情節符碼二大類批語最繁，顯示唐宋派諸人對於古典文學中語言的邏輯性與結構性的重視，此正是唐宋派與秦漢派論文主張最大的相異之處，而有此成果，亦是上承南宋古文評點的發展而來。另外，唐宋派古文評點對於意素符碼、象徵符碼與文化符碼的關注，則下開小說、戲曲評點多層次、多面向閱讀之先河。唐宋派古文評點引用多種文化術語進入文學批評之中，顯示著明人眼中存在著各學科的交疊性。本文就批語中「脈」、「勢」二種跨學科的批評套語進行分析，發現「脈」一詞的使用，既顯示著唐宋派諸人對文化譜系的掌控欲，亦關切著文本局部的篇章結構，而「文脈」意識也從明初以來氣運終始的興衰感，轉向一脈相承，而各自有特色的；「勢」的使用，則更貼切的解釋古文評點中對語言操縱的憧憬，以及所形成的局面與感染力帶來的審美效益。無論「脈」或「勢」，在評點批語中都顯示了一種世界圖景，將文本與世界聯繫起來，文本如同世界被觀看，而世界也被規約為文本而得到掌握。

關鍵字

唐宋派；王慎中；唐順之；茅坤；歸有光；古文；評點

並列摘要

This thesis analyzes the commentary and punctuation (ping-dian) of classical prose of Tang-Song School from three perspectives: the construction of canon and the development of ping-dian, the grammar, and the reading activity and the imagination of the world. These three perspectives focus on the inheritance and inauguration of the ping-dian of classical prose of from Tang-Song School from late Song dynasty to late Ming dynasty; moreover, they demonstrate the specialty of the literary theories of Tang-Song School by grasping the differences of the literary theories between early-Ming dynasty and late-Ming dynasty. Finally, this thesis also aims to discuss how the world is presented in ping-dian of classical prose of Tang-Song School. Ping-dian of classical prose of Tang-Song School can be praised as a representative canonic movement in Ming dynasty’s literary field. Intrinsically, the critics of Tang-Song School build the canonic genealogy which can be traced to Qin-Han dynasty by selecting the literary works and by raising something more concrete and more operative. By playing the roles as judges, the ones who do the ping-dian, based on the consciousness of literary competition, not only make the construction of canon practical, but also promote the position of reader. Extrinsically, ping-dian of classical prose highly combines with the printing which develops again during Zheng-de（正德） and Jia-jing（嘉靖） years. This cuases frequent dissemination through giving, selling and making private copies, and ping-dian becomes popular under the systems of symbolic capital, economic capital and education system. Through five codes raised by Roland Barthes in his S/Z, the thesis discovers that ping-dian of classical prose of Tang-Song School concerns language functions in texts and the effects they caused separately, and hermeneutic code and proairetic code are far beyond the others. It shows the critics of Tang-Song School pay much attention on the logic and structure of language in classic literature, and this is the biggest difference between Tang-Song School and Qin-Han School; also, this result follows the development of south-Song dynasty. In addition, other three codes (connotative code, symbolic code and cultural code) are also concerned in ping-dian of classical prose of Tang-Song School, and becomes the forerunner of ping-dian of novels and the Chinese operas. The appropriation from cultural terms into literary criticism in ping-dian of classical prose of Tang-Song School shows the interdisciplinary perspective of people in Ming dynasty. After analyzing two interdisciplinary terms, mai and chi, this thesis discovers that the use of “mai”（脈） , on the one hand, concerns partially texts’ forms and structures; and on the other hand, it also demonstrates those critics of Tang-Song School’s desires for control of the cultural genealogy. Besides, the early understanding to “Mai” has been changed. From early Ming dynasty, “mai” had been regarded as knowledge of origin and as a concept of returning to the ancients, but “mai” has changed to a unique thought of affirming the partial and valuing every stage. The use of “chi”（勢） explains more properly Ping-dian’s expectation for manipulating language, and presents the appreciation of beauty brought by the reading process. Both “mai” and “chi” illustrate the prospect of world from the critical terms of ping-dian. This way, the texts are connected to the world—texts are like the world is watched and the world can be manipulated by texts.