从注释走向评点:明清赋评的体性

From Annotation to Comment:On the Style of Fu-comment in Ming and Qing Dynasties

赋评由赋注嬗递而来。赋注由最初的“古赋不注”到后来“他注”“自注”“汇注”渐趋拓展和臻于至善的过程,亦由常规的注音、释词、句解到后来的重凡例、擅题解、撰序跋等批评形态的呈现,这既是对传统注释的创新与突破,又是注释形态在语言特征、表现形式、功能表达、文本阐释等方面逐步走向评点的关键。明清评点文学繁兴,以重评析与鉴赏为旨归的赋学评点,即是评点文学重要的构成形态。为探讨赋作评点的演进态势与批评特性,彰显其在赋学批评理论中的重要价值,遂对赋注与赋评内在关联及属性略作省察,并就明清时期赋学评点的体性予以发覆。

Fu-comment is derived from Fu-annotation.From the initial“fu-bu-note”to the later“ta-note”,“zi-note”and“hui-note”,Fu-annotation gradually expanded and reached perfection.It is an innovation and a breakthrough in the traditional annotation,from the conventional ways of phonetic notation,explanation of words and sentences to the later criticism of attaching importance to common examples,being good at problem-solving and writing prefaces and postscripts.It is also the key to change from annotation to comment in terms of language features,forms of expression,functional expression and text interpretation.The prosperity of critical literature in Ming and Qing Dynasties,the critical review of Fu,which aims at re-evaluation and appreciation,is an important form of critical literature.In order to probe into the evolution and critical characteristics of Fu criticism and to show its important value in Fu criticism theory,this paper makes a brief survey of the internal relations and attributes of Fu annotation and Fu comment,and gives a reply to the style of Fu criticism in the Ming and Qing dynasties.