Style Analysis and Style Changing: On the Zhu Xi's Thought of Stylistics
- 2016年 
【中文摘要】朱熹的文体学思想是其文学思想的重要组成部分,与其儒家的哲学理学思想密切相关。首先,关于辨体尊体论,朱熹提出了“亦须先识得古今体制雅俗向背”的辨体经典论断,这是中国古代辨体批评史上的关键链条之一。其次,在古书辨伪之辨体上,朱熹以此辨体批评方法来辨识古书真伪等,既有系统的辨体理论又有具体的辨体批评实践。他把辨体作为方法来辨伪的代表是《伪古文尚书》和《麻衣易说》。第三,朱熹对《诗经》的诠释方法和纲领,即“读诗须先识得六义体面”之辨体为先思想,是他“亦须先识得古今体制”的进一步引申和强调。最后,在处理辨体和破体这一对立范畴的态度和方法上,朱熹持辩证通达的观点,其核心主张就是“变而不失其正”。作为理学家,儒家思想的“中庸”理念及其论《易》时相关的经权、常变等朴素辩证观,都是他辨体通变观的哲学思想基础。 【Abstract】 Zhu Xi's ideas of stylistics are an important part of his literary thought, closely related to Confucian philosophy. They generally comprise the following aspects: Firstly, on the identification of style and the elevation of the status of style, Zhu Xi came up with the classic argument that “it's imperative to first understand the refined and unrefined historical and contemporary systems as well as their support and opposition”, which is one of the key links in the chain of China's historical stylistic criticism. Secondly, in analyzing the stylistic aspects of the authenticity of ancient books, Zhu Xi employed the method of examining the stylistic authenticity of ancient books, using both systematic analysis of stylistic theory and specific analysis of stylistic practice. He differentiated styles as a way of distinguishing truth and falsehood, as evidenced in his authentication of the two books—“Pseudo Ancient Text Shangshu”and “Ma Yi Remarks on Change”. Thirdly, Zhu Xi's interpretation method and guideline for the “Book of Songs”—“The first step in reading poems is to understand the ‘Six-Meaning System'—represented an affirmation of his argument that “it's imperative to first understand the historical and contemporary systems”. Finally, regarding the opposing attitudes of “identifying the style” and “breaking the style”, Zhu Xi held a dialectical point of view, presenting a core proposition of “changing without losing its positive”. As a Confucian,Zhu Xi's Doctrine of the Mean idea of Confucianism, his discussion of “Zhou Yi” and “following the classic and timely change”and related the “normalcy and change”, as well as his other simple dialectics, formed his concept of the philosophical basis of dialectical analysis of style.