| Abstract: | 黃宗羲(1610-1695)是明末清初的思想家，他在政治、歷史與學術思想方面的成就，普遍得到較多研究者的關注及定位。然而黃氏在文學方面的成就，迄今仍有很大的探討空間。特別是表現在文學創作以及文學評論方面，黃宗羲的著作中都有他個人十分鮮明的文學思想，作為他在文學創作以及評騭整體文學發展上的根據。 「文道合一」的主張，即是黃氏個人最重要的文學思想，觸及到他對中國文學理論史，關於文學本源論的探索。黃氏對於歷來的載道說、道統觀，都有所簡擇及批判，一方面認為「道」的正名應該不能囿限於儒家的教化思想；另一方面則強調「文」的相對獨立性，擴大了文的意義和範圍，經史諸子乃至於理學家的種種思想著作，以及市井百姓的歌吟記實，都可視為文的具體表現。尤其是他將中國傳統中以氣言道的觀點，以及儒家的性情觀和他個人博洽尚奇的稟性，共同納入文道合一的思想體系之中，將文與道的關係，賦予了創造性的詮釋。不僅強調文學的形上觀照，疏通了文學的本源及本體；並能進一步避免在意識和題材上形成獨斷及偏執，將心靈展現的多樣性與文學的本來面貌，在創作和評論中提供一個統體照察的思考。 我們在他個人文集如《南雷文定》，以及明代文學總集《明文海》等相關著述中，會發現黃氏論文的傾向，乃朝著一深層的共同性作為整體文學的歸宿。因此在他的觀念中，可以小說作為古文辭，以古文為時文，以詩為史，這在文學史的規範或者當時的文壇都未必能肯定這種作法。但是在黃氏整體的創作（著作）之中，卻可以發現黃宗羲的思維方式，實與上述的文道合一思想攸關，並且展現了他對中國文學潛存的敘事結構，有著高度的自覺，以及具體闡示的企圖心。 這一方面的探索，牽涉到黃宗羲較為顯著的兩種思維方式，其一是表現在各門思想領域的著述中，他慣於以「學案式」的思維加以貫穿例如學案、文案、詩案、史案。不僅影響到他在學術體裁上的兼容並蓄，相輔相成，亦能有效疏通種種觀念和取材上的獨斷及偏執。這一思維方式的成果，我們即可以在他掃除摹擬，空所依傍的《明文海》一作中，看出他對明代三百年文壇「三盛三衰」的論斷，以及揭示「情至」為宗，「元氣」為本的文道合一思想，可以說有其深刻而整體的識見。 「擬議」思維則是他表現在創作上的思維方式，乃淵源於《易學象數論》中闡釋的文道規律，並與他的元氣論、性情觀有著若合符節的關係。擬議思維的關注，也與明代文學復古思潮的深層理念有所聯繫。對於黃氏在實際創作上的「馭文之術」以及「哲理結構」兩者之間存在的敘事學關係，正是本文試圖加以詮釋的重要關目。黃宗羲主張文章乃天地的元氣，陰陽交感，蓄積風雷鼓盪，即為這一擬議思維的具體成型。也是文道合一思想，表現在敘事的雙構性以及敘事意象的指涉性上，值得深入討論的內容。 總體而觀，黃宗羲的文學思想，乃將文學由「載體」的意涵，進一步還原其「本體」及本源的特質，並與道產生密切的連繫，最後更與人的價值自覺的「主體」合而為一。表現為由「文以載道」中經「文道合一」下迄「人道合一」的實踐歷程。同時「人道合一」的完成，才是「文道合一」整體理想以及完整的定義。因此由黃宗羲主持的甬上證人書院講學，以及在清代產生深遠影響的浙東學術，本文都視之為文道合一的考察及印證的對象。
Huang Zong Xi (1610-1695) is a philosopher in the late Ming and early Qing dynasty. His achievements in the political, historical and academic arena is better known. But on the other hand, his success in the literary arena still has great room for discussion. This is especially so in the aspect of literary creation and literary criticism. His literary works consists of stark literary ideology as his basis in literary creation and literary criticism. His perspective, ‘Words and Tao as one’, is the most important literary ideology, which is the exploration of the principle of literature in the history of Chinese literary criticism. He believes that Tao should not be limited to Confucian orthodoxy and Words should not only include Classics but all kinds of works, including folksongs and folklore. This is explicitly so when he fuses the Chinese tradition of expressing Tao in terms of “Qi” and the Confucianist temperament outlook into the system of ‘Words and Tao as one’ to endow creativity in its interpretation. In Huang’s literary collection Nan Lei Wen Ding and Ming anthology Ming Wen Hai and other works, we observe that there is a deeper underlying literary theory as its principle. Thus, ancient phraseology could be written in a novel way, contemporary works written with an ancient style, history expressed in poetic style; it is unlikely that his ways would be accepted at that time. But in his works, we could gather that his way of thinking is closely knitted with his ideology of ‘Words and Tao as one’, showing his awareness of the latent narrative structure of Chinese literature. Our research is concerned with two different ways of thinking: firstly, his customary use of ‘file’, which is all-embracing and complementary, hence eliminating peremptory and bigotry. His judgement of three hundred years of Ming literary arena’s ‘three flourishing, three weakening’ and proclamation of ‘total sentiment’ as master and ‘vitality’ as principal, is a profound explication of ‘Words and Tao as one’. Secondly, the thinking of ‘proposal’ is displayed in his creative writing, and has originated from the pattern of words and Tao in Yi Xue Xiang Shu Lun. In addition, this thinking is also related to the Ming renaissance of literature. The relationship between Huang’s ‘skill of manipulating words’ and his ‘philosophical structure’ in literary works is what we attempt to interpret in this dissertation. Overall, Huang Zong Xi’s literary ideology is to change the idea of literature being a ‘carrier’ to its ‘noumenon’ and its origin, relating closely to Tao and then to man’s conscious (noumenon), uniting as one. It also manifests as the progress from ‘Words as carriers of Tao’ to ‘Words and Tao as one’ to ‘Man and Tao as one’. Therefore, we regard Huang’s lectures in Yong Shang Institute and his influence of Zhe Dong School as the study and proof of ‘Words and Tao as one’. |
