荻生徂徕及其之前的儒学——以孔子形象为主

Ogyū Sorai and before His Confucianism——Focusing on Image of Confucius

荻生徂徕将明代李攀龙、王世贞提倡的文学运动理念——古文辞作为解释儒学古典的方法论进行了重新定义,并运用这种方法,与古注、新注、古义学等徂徕之前的经典注释对峙,树立了独自的儒学学说。本文通过与徂徕之前的儒学相比较,从经学和孔子形象两个方面阐明其独到的见解。在经学方面,徂徕进一步加深了始于仁斋的、对汉宋两学天人相关说的批判,彻底切断了天地自然与人世间的连续性。另外,针对"道""极""教/传",其视古注为"古来相传之说"予以肯定,从而为自身学说的可靠性提供了支撑;在孔子形象方面,徂徕批判地吸取了他之前的《论语》注释,塑造了一个由"革命家""管仲‘霸道’路线继承者""传道家""六经论定者"四个方面构成的新的孔子形象。

Li Panlong and Wang Shizhen in Ming China advocated Guwenci( 古文辞) as the ideal style of writing. Ogyū Sorai redefined it as a methodology for interpretation of the Confucian classics. Using the method,Sorai established a new theory opposing to such previous schools as Ancient Annotation,New Annotation,and Jinsai Studies. This article clarifies Sorai’s original views in two fields,i. e.,the study of Confucian classics and the image of Confucius,comparing his theory with three other schools.As for the study of Confucian classics,Sorai throughly carried out the criticism which Jinsai began to make against the theory of the correspondence between heaven and man,held by both the Han and the Song Learning,and drew a sharp line between heaven and man. Also,concerning such ideas as"Dao", "Ji",and"Jiao/Chuan",Sorai evaluated the interpretations by the Han scholars as"the theory handed down from ancient times",and used them as evidence for the validity of his theory.With regard to the image of Confucius,Sorai,referring to the previous interpretations of theAnalects in a critical way,created a new figure of the Master consisting of four aspects of"revolutionist","inheritor of Guanzhong line","preacher",and"compiler of the six classics".