作为体裁的“孔子对话”

On the Confucius' Dialogue as a Genre

《论语》隐含了一种体裁,我们权且称之为"孔子对话"。从《论语》到《庄子》,"孔子对话"经历了这样的转变,亦即从作为对象被回忆、记录、复现,到作为逻辑论证的手段与工具用于导向已经先行存在的结论。可以说,《庄子》中的"孔子对话"是对《论语》的戏仿,《声无哀乐论》也是这种戏仿体的变体:在这两个文本中,"孔子对话"是一种论证的策略。然而,"孔子对话"的最初形态并没有消失,《世说新语》类的笔记,诗话,以及宋代新儒家的语录和禅宗的语录、公案、参话头,都与对交谈对话场景的记录与复现有关,并在文本中保存了《论语》的客观记忆。可见,作为"孔子对话"原始文本的《论语》内蕴着以上两条发展线索,它们都是对《论语》的创造性发挥。

The Analects of Confucius shows a genre that can be named as Confucius＇ Dialogue. From The Analects of Con- fucius to Chuang Tzu, Confucius＇ Dialogue experiences a change, from an object being recalled, recorded and represented to a tool and method of logical proof to prove predetermined conclusion. Confucius＇ Dialogue in Chuang Tzu is a parody of that of The Analects of Confucius, and Music is Irrelevant to Grief or Joy is also a variant of such parody and in both texts, Confucius＇ Dialogue is used as a strategy for logical proof. However, the original of Confucius＇ Dialogue does not die out. The notes in A New Account of Tales of the World, the remark of poetry, Neo-Confucianism Quotations as well as Zen Quotations, koans and themes in Song Dynasty, all relate to the records and representations of conversations, and contain the ob- jective memory of The Analects of Confucius. It is thus clear that The Analects of Confucius as the original text of Confucius＇ Dialogue contains two clues of development, which are the creative elaborations of The Analects of Confucius itself.