奇異趣‧情義理‧人間道──由《譚海》論近代日本吉士佳人典範之文化意涵

Abstract

本文就依田學海《譚海》所收錄之吉士佳人類型，探討自江戶入明治的轉折時期，近代日本所標舉的人格典範產生何種價值轉型意涵。據本文考察，從撰作形式而言，《譚海》當屬於近世以還之志人小說的「叢談系」；而非「世說系」。然《譚海》與《先哲叢談》最大的差異，就在《譚海》志人不侷限於「儒者」此點，且其所載錄之人物中，最具特色的乃是以畸狂士與奇女子為近世吉士佳人之典範。學海透過《譚海》所推崇的奇異與戲謔的風雅，強調的是「天真獨完」，堪稱是對莊子式絕對者的肯定，同時也對日本近世、近代之交的「士」階層提出其高度質疑。在學海而言，所有倫常道德的實踐，若無充沛且真摯的情感，實不足發為道德。而學海此種對義理與人情的調和，基本上乃承繼自曲亭馬琴，惟學海更難能可貴地觀察到馬琴在其所處時代無法暢所欲言的「可貴真情」，並在明治開化後的近代日本，堅持以「漢文」傳統抒發「和民」之情感，進而試圖調和「漢文」與「和音」。

In this paper,based on thetypes of Yoda gakukai’sTankai, it focus on the implications of value transformation in what personality modelsadvocatedby the modernJapanese in the transition time from Edo to Meiji period. From the writing style inTankai, it belongs to the novel of depicting humanity as “Cong Tan Series”, instead of “Shi ShuoSeries” inearly modern.The obvious difference between Tankai and Sentetsusodan is that the former is not limited to Confucian scholar, and the people who were written in this novel has unique feature such as mad scholar and extraordinary woman to be the Ji-Shi-Jia-Ren model. Through Tankai with the bizarre and playful elegance, Yoda gakukai emphasized on “Tian Zhen Du Wan” that it is socalled the affirmation of absolutist by Zhuangzi's type and he also put forward its highly doubt on bachelor stratum between the early modern period and modern in Japan. With its mad form by singular, playful and bantering language, his words often filled with the truthful emotion and human morality.