| 摘要: | 中文摘要
明末公安派的文學理論有著相當特色：一是，「他們的主張很簡單，幾乎和五四時代的白話運動完全相同。」（註1）一是，他們的文學理論「比較著是有意識，而且是常有一種革命家的精神，對於當時文壇的權威者，和社會上的一般盲從者，而施以不客氣的沉痛的攻擊」（註2）不幸，這樣的文學進化觀，僅如微小浮漚，一時岑寂，直到民國初年的文學革命再度興起，他們的文學理論，才又激起了回響（註3）。其中首發崇閎之論，開啟新文學觀者，應推袁宏道。清人錢謙益云：「伯修在詞垣，當王李詞章盛行之日，獨與同館黃昭素厭薄俗學，力排假借盜竊之失。…而公安一派實自伯修發之。」（註4）朱彜尊亦謂：「嘉靖七子之派，徐文長欲以李長吉體變之，不能也。湯義仍欲以尤、楊、范、陸體變之，亦不能也。王伯谷、王承文、屠長卿雖迭有違言，然寡不敵眾。自袁伯修出，服習香山、眉山之結撰，首以白蘇名齋，既導其源，中郎、小修繼之益揚其波，由是公安盛行。」（註5）蓋宗道為公安派開派人物，其文學理論，實值得全面考察，本文擬綜論其文學理論及其成就。全文共分肆項：首列「前言」，概述研究動機、取材範圍等，以見全文梗概；次敘 「袁宗道文學理論的形成」，源溯袁宗道文學理論之緣生與傳承；三述「袁宗道的文學理論」，追探其創作技巧、思想內容等主張與啟發；末為「結論」，合言其文學理論之迴盪與世評，兼望後人深明其論實為公安派之先導，勿復沒其濟俗本志。
附註
註1：見曹聚仁「中國學術思想史隨筆」「明末反復古運動」，頁四四九。
註2：見任維焜 「袁中郎評傳」，師大國學叢刊第一卷第三期，頁五七。
註3：例如上海時代圖書公司出版劉大杰校點、林語堂校閱的「袁中郎全集」；上海南強書局出版「袁中郎尺牘全稿」；光明書局出版施蟄存編選，周作人題簽的「晚明二十家小品」及北京出版沈啟旡編選「近代散文抄」周啟明、俞平伯序跋等，受到當時周啟明、俞平伯、劉大杰、林語堂等學者的推崇。
註4：見錢謙益 「列朝詩集小傳」丁集中，頁五六六。
註5：見朱彜尊「靜志居詩話」。
Abstract
Towards the end of the Ming Dynasty; the Kung An School made its appearance and several prominent features characterized the Kung An School in its approach to the theory of literature. Firstly , "the basic principles they advocated stand out clearly and distinctly, comparable in nature and kind to the promotion of the vernacular advocated by the May 4 Movement." (Note 1) And secondly, the literary theories they admired and cherished," were, comparatively speaking, highly articulate and self-conscious, and were adopted with the. religious fervor of ardent revolutionaries. They launched a relentless and embittered attack against the literary pundits of their generation as well as their social hangers-on."(Note 2) Unfortunately for them , this icon-oclastic. evolution in literary, doctrine created as little effect as the ripple caused by a little pebble when thrown into a pond, isolated and remote as they were from the general hustle of life. It was not until the early years of the Republic, when a genuine literary revolution took place, that their literary tenets of faith once again aroused the attention and interest of the general, public(Note 3). Tribute must be paid to Yuan Tsung-tao as an expositor of great ideas and a pioneer of the new look in literary perspectives. Tsien Ch'ien-yi, a scholar of the Ch'ing Dynasty, has said: " Yuan.can be credited together with his distinguished contemporary, Huang Chao-su, as battiing almost singlehanded against the contemporary tide of vulgar and shallow verse composed by Wang and Li. They vigorously opposed imitation, borrowing, or downright-plagiarism. And it was. Yuan who was the true successor and exponent of the ideals of the Kung An School." (Note 4) Chu Yi-tsun also declared: "As for the School of Seven Sages of the Ming Dynasty ( circa 1522), Hsu Wen-ch'ang tried to change the style of writing they practised by imposing upon. them the new mode of writing introduced by Li Ch'ang-chi, but his attempt failed. Tang Yi-jen tried to alter the current fadof writing by attempting to make it over in the image of Yiou, Yang, Fan, and Lu, but with no success whatsoever. Wang po-ku, Wang Ch'eng-wen, T'u Ch'ang-ch'ing, although they repeatedly challenged prevalent orthodoxy, but as aminority , they could not prevail. Ever since YuanTsung-tao, who was well versed in the art of writing exercised by pai Chu-yi and Su Tung-po, introduced the source of the current, then later Yuan Chung-lang and Yuan Hsiao-hsiou, his second and third brothers respectively, followed closely in his footsteps by broadening the banks of the current, until it practically became a mighty flow of waters which carried the Kung An School to the top." (Note 5) For Yuan Tsung-tao can be truly reckoned as the pioneering spirit behind the rebirth of the Kung An School. His theory of literature deserves close and attentive study from its inception to its conclusion.
My present paper is an attempt to recapitulate and summarize his theory of literature as well as an attempt to assess his actual achievement. The entire paper is divided into four sections. First comes the introduction which outlines briefly the motivation for my research as well as other matters, such as the scope of my bibliography and source material , which in turn will serve to underline the basic theme of my entire paper. Secondly, I shall try to relate the gradual formation and maturation of Yuan Tsung-tao's literary doctrines, from its inception to its subsequent propagation. Thirdly, I shall give a narration of Yuan's literary theories, which will include an attempt to investigate and discover the secret of his originality in his creative works, both in technique and in idea; the inner content of his thouhgts; as well as innovatory ideas which set a new precedent. Finally, the discussion will be brought to a general conclusion with a discussion of the influence of his ideas on his contemporaries as well as successors. At the same time, it is the hope of the writer that the readers of the paper will arrive at a thorough understanding of the fact that he served in truth as father to the Kung An movement, a brain child which would have been still born if he had not served many years subsequently as its midwife. And his basic goal, to transform and purify literary standards and literary taste, should not pass unnoticed by subsequent generations.
Note 1: Vide Tsao Chu-jen, A History of Academic Thought in China," The late Ming movement against slavish imitation of theancients," p. 449.
Note 2: Vide Jen Wei-k'un, A Critical Biography of Yoan Chung-lang, Chinese Studies Series, published by the National Taiwan Normal University, Volume 1, 3rd Issue, p.57.
Note 3: For example, Shanghai Times Book Company published The Collected Works of Yuan Chung-lang, annotated by Liu Ta-Chi-eh, and proofread by Lin Yu-tang; Shanghai Nan Chiang Book Store published The Complete Collected Correspondence of Yuan Chung-lang; Kuang Ming Book Store published, Twenty Essayists of the Late Ming Dynasty, edited & selected by Shih Jih-tsun, and inscribed by Chou Tso-jen; and the Peking publication of Contemporary Essays edited and selected by ShenCh'iwu, with preface & postscript written by Chou Ch'i-ming & Yu Ping-po. These publications were acclaimed by scholars of the caliber of Chou Ch'i-ming, Yu Ping-po, Liu Tachieh, and Lin Yu-tang.
Note 4: Vide Tsien Ch'ien-yi, The Poetry & Short-Biographies of Successive Dynasties, Series D, p.566.
Note 5: Vide Chu Yi-tsun poetry & Dialogues Conceived at Ching-Chih-Chu. |
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