朱熹《子衿》淫诗说的训诂探析  

The Exegetical Analysis of Zhu Xi’s Licentious Theory in Zi Jin

作　　者：徐峰[1] XU Feng(School of Humanities,Tongji University,Shanghai 200092)

机构地区：[1]同济大学人文学院

出　　处：《绍兴文理学院学报》2019年第6期22-28,共7页Journal of Shaoxing University

摘　　要：《子衿》是宋代"诗经淫诗说"的标志,也是宋、清学者争论的焦点。从"挑达"二字入手,可探析淫诗说背后的训诂依据及其合理性。朱熹以《论语》"郑声淫"为基础得到"郑诗多是妇人戏男子"的判断,再经由程子"挑达"新训辗转出"轻儇""儇薄"的理解,最终认定为"淫乱之诗"。然而正是这种废旧《序》,以"四书"为传,"因文见义"和不顾及语言历史性的辗转递训解诗新方法创造了一场诗经革命。Zi Jin which marks the licentious theory in the classics of poetry of the Song dynasty, is a controversial topic among the scholars of the Song and Qing dynasties. Starting from the phrase "Tiao Da", the present paper tries to analyze its basis and rationality of the theory of licentiousness. Grounded upon the "licentious music in the Zheng state" in The Analects, Zhu Xi reaches the conclusion that the poems in the state of Zheng are characterized by women’s playing with men;then through the understanding of "Tiao Da" as frivolous in Cheng Yi’s new comments, he eventually labels Zi Jin as a licentious poem. However, it is the abolition of the old Preface, the use of the Four Confucian Books as a new orientation, taking the words literally and paying no attention to the linguistic changes in the history of language that give rise to a revolution in the classics.

关 键 词：诗经 子衿 训诂 递训 淫诗 挑达 

分 类 号：H131[语言文字—汉语]