從文體「正變」論劉勰「文之樞紐」的典範性意義

近現代龍學研究中關於劉勰「文之樞紐」的議題，實屬此一領域的熟題。然本文提出：從文體「正變」論劉勰「文之樞紐」的典範性意義，並非是從批判或對抗的視角，來檢視前人研究成果，而是立基於劉勰「文體通變觀」的詮釋預設上，重新以「文體正變」的詮釋角度，反思「文原論」之「原」，是劉勰為文化、文學之創生找尋「根本」、「根源」、「起源」之依據；進而重新探討〈原道〉、〈徵聖〉、〈宗經〉、〈正緯〉、〈辨騷〉等五篇劉勰自云「文之樞紐」的篇章，在其《文心雕龍》理論體系上的位置，及其所具有的典範性意義。準此，本文認為從文學總體觀來論劉勰「文之原」的理論根源問題時，對於「道、聖、文」之上下關係已有十分精彩論證，因此本文將就「文原論」的前三篇，探討其三位一體的典範性意義與價值所在，並且提出劉勰在「常體典範」上所要建構的文原依據。此外，「文之樞紐」中的〈正緯〉與〈辨騷〉，被放在劉勰文原論的範疇內，歷來有許多不一樣的看法，然而本文從文體「正變」的視角，想要重新反思其在劉勰〈宗經〉的基礎上，反思其文體「正」與「變」的創生與變化意義。因而認為這兩篇文章具有文體的「變體典範」意義；因而形成「經」與「緯」、「騷」的正變關係，依據此一關係，是本文重新討論劉勰「經、緯、騷」在文原論裡所存在的「常體典範」與「變體典範」的文體正變意義。

關鍵字

文體通變觀；文之樞紐；典範性；常體典範；變典範

並列摘要

Recent study on Liu Hsieh's Wen-shin-diao-lung has been focusing on the issue of ＂literary pivotal.＂ This paper presupposes the idea that approaching the paradigm of ＂literary pivotal＂ from the angle of ＂cheng-pien＂ of literary style does not aim to reexamine the predecessors critically, but to reflect on the paradigm of Liu Hsieh's five essays concerning ＂Wen-yuan-lun＂ which include the essay titled ＂literary pivotal.＂ Based on this point, this paper will discuss the first three essays of ＂Wen-yuan-lun,＂ exploring the paradigm value of ＂tao, sheng, wen＂-the so-called ＂three unities＂ inherent in the three essays and, meanwhile, offering the literary criteria Liu Hsieh hoped to construct on his ＂normal paradigm.＂ Also, the fact that ＂Cheng Wei＂ and ＂Pien Sao＂ were categorized and included in the dimension of Liu Hieh's ＂Wen-yuan-lun＂ has been arousing diversified and critical discussions. This paper would like to reflect on the creativity and evolution of its ＂cheng＂ and ＂pien＂ on the foundation of Liu Hsieh's ＂Tsung Jing.＂ This paper proceeds to conclude that the two essays-＂Cheng Wei＂ and ＂Pien Sao＂-form and establish a ＂cheng-pien＂ relation with ＂Tsung Jing.＂ Based on this triangle relation, this paper re-examines the ＂normal paradigm＂ and ＂changing paradigm＂ inherent in Liu Hsieh's ＂Wen-yuan-lun.＂.