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文道與文法:汪琬古文理論再探

Dao and Wen: Further Discussion of Wang Wan's Theory on Classical Prose

摘要


汪琬的古文理論,最核心的部分是文道與文法之間的關係,然而學界對此尚未有全面的梳理。論者或以汪琬與陳僖的論爭爲據,如青木正兒,以爲其文論主法;或以其散見觀點爲據,如郭預衡,則以爲其文論主道,未有客觀的總結。即便二者兼而論之,如郭紹虞、王運熙、顧易生諸位,則以爲汪琬既主文道又主文法的古文理論是自相矛盾的。然本文以爲,汪琬主文又主道的古文理論不僅不矛盾,並且是其古文理論的一大特點。本文將首先從汪琬與陳僖的論爭切入,還原這場論爭之始末,並旁及汪琬其他的文章,提出從道、經、文不同層次來理解汪琬的古文理論,認爲道仍然是其古文理論的核心,而文是其從創作的角度來探討古文的面向,仍然在道的統轄之下,消解其矛盾。其次,結合明末清初文學思潮的綫索,揭示汪琬的古文理論在廣受性靈文學思潮影響的時代,對回歸古文傳統、追溯唐宋文脈的清初古文所産生的重要意義。

關鍵字

清初 古文 汪琬 陳僖 文道關係

並列摘要


There has yet to be a comprehensive study of the relationship between "literature" (wen) and "the Way" (dao), which forms a core theme in Wang Wan's (1624-90) theory on classical prose. In his discussion of the debate between Wang and Chen Xi (early Qing), Aoki Masaru holds that Wang's theory mainly concerns "method" (fa). Making no objective conclusion, Guo Yuheng discusses Wang's sporadic views in his writing and observes that Wang advocates "the Way" in his theory. Some scholars, such as Guo Shaoyu, Wang Yunxi, and Gu Yisheng, assume that Wang's advocacy is on both "the Way" and "method" but his theory is self-contradictory. This paper argues that Wang's combination of "literature" and "the Way" is not contradictory, rather, it makes a prominent feature in his theory on classical prose. This study begins with a reconstruction of the details of the debate between Wang and Chen Xi. Based on a survey-analysis of Wang's other writings, I propose that one should observe Wang's theory by considering three levels of his thinking about the classics (jing), the Way, and literature. There are two tasks in this paper. First, I argue that the Way remains central in Wang's theory, that literature is a means by which he investigates the characteristics of classical prose, and that literature is subordinated to the Way, therefore the alleged contradiction is resolved. Second, by tracing the intellectual trends of the transitional period between the Ming and Qing dynasties, I show that Wang's literary thought was formed in a time when literature was mainly under the influence of "writing one's inner nature and soul". This exerted significant influence on early Qing prose, which made a return to classical prose tradition especially hankering after the Tang-Song legacy.

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