诠赋与宗经:扬雄悔赋批评下的“三步通经”思想

Quan Fu and Zong Jing:Yang Xiong’s “The Three Steps Lead to the Thought of Confucian Classics” in the Criticism of His Regrets

学术史对"雕虫篆刻,壮夫不为"诠解的逻辑前提不是基于"雕虫篆刻"而是基于"雕虫篆刻"的喻指对象——词章,从而遮蔽了其作为本体自在的能指语向——"小学"与辞赋之间存在着的"语言—文学"发生机制之渊源关系。立足语言分级体系,"雕虫篆刻"、"辞赋"与"诗教"分别代表"字"、"文"与"义","雕虫篆刻"与"小学"构成能指语义层,"辞赋"与"诗教"则构成所指语义层。作为回顾式的学术批评,与其说扬雄"童子雕虫篆刻"以"献赋"与"壮夫不为"而"悔赋"呈示出赋学批评思想的矛盾纠葛,毋宁说扬雄将个体为学之渐进深入寓于齿序之少长变化中。由童子"小学"之学(学言),渐入辞章之文(尚文),后根柢在弘道之儒业(立言),应是"雕虫篆刻,壮夫不为"完整的三个阶段。倘就汉赋的语言发生机制夷考其内涵宏旨,要在扬雄对辞赋与小学关系的体认以及后期"文统"、"言统"纠葛下的思想转向。

Because of the rigid acceptance of generation,the premise of the theory is not based on“ability in carving insects and reptiles”but on its metaphor—the poetry and prose,this explanation obscuring its original meaning—the phonology.According to the hierarchical system of language,“ability in carving insects and reptiles”,“Cifu”and“poetry comprehension”are respectively represented in the phonology,literature and the classics.As a retrospective academic criticism,when Yang Xiong was young,he wrote his words and have no more words when he was older,which is not so much a contradiction of literary criticism of Fu as that it is an analogy at different ages.From the lad’s phonology to the literature creation,then to the promotion of Confucianism,are complete three different stages.From language genetic mechanism,the content of this theory is mainly manifested in Yang Xiong’s recognition of the relationship between the phonology and Cifu,and Yang Xiong’s ideological transformation between the tradition of Wen and Yan in the later period.