宋代江西詩法與評點文法之交涉及其意義——以《童蒙詩訓》、《古文關鍵》為中心

Abstract

宋代盛行詩法、文法之說外，進而提出死法／活法、有法／無法之相關討論，「法」之辯證可以說是宋代文學批評的重要課題。本文從句法之學、「關鍵」文法、有定法而無定法，逐一檢視江西詩法與評點文法之交涉，發現古文評點特別強調「如何」，較江西詩論更重視文章的具體作法；除開創評點新體例外，並建立「關鍵」文法與術語，從首尾相應、鋪敘次第到抑揚開合，細致分析文章結構、脈絡。又江西詩法融合「句法」與「悟入」，而評點文法所標舉「關鍵」則涵攝「文勢」，兩者皆具有活法之精神。此外，本文進一步抉發詩法與文法的會通之理在於「用意曲折」、「布置開闔」，可作為宋代以後論詩文之法的理論根據。

Poetics (shifa) and prose theory (wenfa) flourished in the Song dynasty, thereby generating the discourses on flexible rhetoric (huofa) versus inflexible rhetoric (sifa) and rules (youfa) versus no-rules (wufa). These codes became the major texts of Song dynasty literary criticism. This paper investigates the derivative poetics between the Jiangxi School literary theory and the Commentary on classical prose from the perspectives of syntax and crucial prose theories. It is found that the Commentary school places more emphasis than the Jiangxi school on rhetorical know-how, and has shaped up its crucial grammar and terminology. There are discussions of coherence and resonance between the introductory part and the concluding part, sequential elaboration, orderly development and subtle analysis of stylistics and structural context. Comparatively, the Jiangxi school takes advantage of syntax and “intuition” (wuru), while the Commentary school figures out the “crucial” method to focus on rhetorical energia of the essay. Both schools capitalize on the spirit of huofa. This paper further probes into the intricate derivation and concurrence between poetics and rhetoric and their techniques may serve as a basis for tackling poetics after the Song.