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「可解」與「不可解: 江戶時代《唐詩選》注解本的注解特色
Author(s)
Date Issued
2023
ISSN
2306-0360
Citation
中正漢學研究, 2023年, 第41期, 第59-90.
Type
Peer Reviewed Journal Article
Abstract
江戶時代,題李攀龍 唐詩選 大行其道,也成了漢詩學家訓釋唐詩的主要場域.漢詩學家訓釋評解 唐詩選 的考慮,既有其注解典籍的治學理念,同時可溯源於明清時期 可解不可解 的詩學議題.晚明唐汝詢認為詩實可解,最終撰成 唐詩解,而 唐詩解 的注解文本又為建陽書林 唐詩訓解 唐詩選 之派生)潛錄,並東傳日本,最終盛行江戶.江戶時期 唐詩選 的注解本表現出: 簡注淺解 博引詳辯,以及 針對 唐詩解 注解的回應 三個方面的特色.這可算是 可解不可解 之論的轉化與延續,同時展現出江戶時代注解漢籍方法與學術理念的爭持,對於我們掌握江戶漢籍和刻的衍變流轉而言,實屬不可忽略的獨特視角.
During the Edo period, the popularity of attributed Li Panlong’s Tangshi Xuan (Selections of Tang Poetry) made it the main arena for Chinese poetry (Han shi) scholars to interpret and annotate Tang poetry. The considerations of Chinese poetry scholars in their interpretation and annotation have both derived from their scholarly ideals for annotating classical literature and can be traced back to the poetic issues of the Ming and Qing dynasties regarding the “that can be explained” and “that cannot be explained” nature of poetry. In the Late Ming period Tang Ruxun believed that “There are poems that can be explained,” and ultimately wrote Tangshi Jie (Explanations of Tang Poetry). The explanatory texts of Tangshi Jie were then appropriated (plagiarized) into the Tangshi Xunjie (Exegeses and Explanations of Tang Poetry), a derivative work of Tangshi Xuan compiled by a publisher in Jianyang, and was transmitted to Japan during the Edo period. The annotated versions of Tangshi Xuan during the Edo period exhibited three characteristics: “concise annotation and shallow explanation,” “wide-ranging references and detailed argumentation,” and “responses to the annotations of Tangshi Jie.” This can be considered a continuation and transformation of the debate of “that can be explained” and “that cannot be explained”, while also demonstrating the contentious ideas surrounding annotating Chinese classics during the Edo period. To examine the evolution and circulation of the Japan wood-block books of Chinese classics in the Edo period, this is an irreplaceable and unique perspective for us.
During the Edo period, the popularity of attributed Li Panlong’s Tangshi Xuan (Selections of Tang Poetry) made it the main arena for Chinese poetry (Han shi) scholars to interpret and annotate Tang poetry. The considerations of Chinese poetry scholars in their interpretation and annotation have both derived from their scholarly ideals for annotating classical literature and can be traced back to the poetic issues of the Ming and Qing dynasties regarding the “that can be explained” and “that cannot be explained” nature of poetry. In the Late Ming period Tang Ruxun believed that “There are poems that can be explained,” and ultimately wrote Tangshi Jie (Explanations of Tang Poetry). The explanatory texts of Tangshi Jie were then appropriated (plagiarized) into the Tangshi Xunjie (Exegeses and Explanations of Tang Poetry), a derivative work of Tangshi Xuan compiled by a publisher in Jianyang, and was transmitted to Japan during the Edo period. The annotated versions of Tangshi Xuan during the Edo period exhibited three characteristics: “concise annotation and shallow explanation,” “wide-ranging references and detailed argumentation,” and “responses to the annotations of Tangshi Jie.” This can be considered a continuation and transformation of the debate of “that can be explained” and “that cannot be explained”, while also demonstrating the contentious ideas surrounding annotating Chinese classics during the Edo period. To examine the evolution and circulation of the Japan wood-block books of Chinese classics in the Edo period, this is an irreplaceable and unique perspective for us.
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