“经之道”与“史之迹”:清代中期的“风雅正变”论

Dao of Classics and Trace of History:The Debate of“Fengya Zhengbian”in Mid-Qing Dynasty

自朱自清先生判分正变为“风雅正变”与“诗体正变”,学界关于正变的研究遂歧为两途,而不复措意于汉代以后的“风雅正变”之论说。“风雅正变”本为经学话语,它导源于《毛诗序》,至郑玄而具备规模,在内部构成上遵循着价值主导、史事证立的原则,由此导致了自身结构上的矛盾。清代中期是“汉学昌明”的时代,形成了以时世、美刺、声乐论说正变的多重进路,而表现出一种历史化的诠释倾向:或秉持史家的意识与立场以立论,或以具体的历史事件取代宏大的叙事结构,或致力于揭示诗乐共存、以声为用的原初文化形态。在清代中期知识、思想与价值系统的调整以及经史观念的互动与重构中,“风雅正变”说所得以成立的前提与基础,渐由价值的依据转向事实的依据,从而呈现出从经之“道”到史之“迹”、从经学话语到历史话语转换的态势。

Since Mr.Zhu Ziqing divided the concept of Zhengbian into“Fengya Zhengbian”and“poetic Zhengbian”,the research on Zhengbian in academic circles has diverged in two directions,paying no more attention to the theory of“Fengya Zhengbian”after the Han Dynasty.“Fengya Zhengbian”is a discourse of Confucian classics.It originates from the Mao's Prefaces to the Book of Songs,and has the scale to Zheng Xuan.It follows the principles of value dominance and historical evidence in its internal composition,which leads to its own structural contradictions.The mid-Qing Dynasty was the era of“prosperity of Sinology”,which formed multiple approaches to“Fengya Zhengbain”of the times,praise and satire,and vocal music,and showed a trend of historical interpretation:upholding the consciousness and position of historians to make arguments,or replacing the grand narrative structure with specific historical events,or devoting to revealing the original cultural form of the coexistence of poetry,music and the use of sound.During the adjustment of knowledge,thought and value systems in the mid-Qing Dynasty and the interaction and reconstruction of the concept of classics and history,the premise and foundation for the establishment of the“Fengya Zhengchang”theory gradually shifted from the basis of value to the basis of facts,thus showing a trend of transformation from the“Dao”of the classics to the“trace”of history,and from the discourse of classics to the discourse of history.