论毛、郑对《诗经》的强制阐释——以《邶风·静女》为例  

On the Forced Interpretation of the Book of Songs by Mao Heng, Mao Chang, and Zheng Xuan——Take Bei Folk Songs·Shepherdess as an Example

作　　者：张昌红[1] Zhang Changhong(School of Arts,Luoyang Normal University,Luoyang 471934,China)

机构地区：[1]洛阳师范学院文学院

出　　处：《洛阳师范学院学报》2020年第1期62-65,共4页Journal of Luoyang Normal University

基　　金：河南省哲学社会科学规划一般项目(2015BWX024)

摘　　要：强制阐释现象不但存在于中国当代学者对西方文艺理论的接受领域,也存在于诸如《诗经》等传统文本阐释中。毛亨、毛苌《毛诗故训传》及郑玄《毛诗传笺》以《毛诗序》的说法为前在立场对《邶风·静女》的阐释就是典型的强制阐释。为了迎合这种前在立场,毛、郑不惜改变该诗大多数词语的训诂,甚至改经以就注。我们今天阅读《诗经》,应理性地对待《毛诗序》。既要合理地利用它,又要避免受其过度影响,以免对作品产生不恰当甚至错误的理解。Forced interpretation happens not only in accepting western literary theories by contemporary Chinese scholars, but also in interpreting traditional Chinese texts such as the Book of Songs. Taking the views of Preface to Mao Poems as the presumption, the explanation of Bei Folk Songs·Shepherdess in Mao Heng and Mao Chang’s Rules in Mao Poems and Zheng Xuan’s Biographical Notices of Mao Poems is a typical forced interpretation. In order to meet this kind of presumption, Mao Heng, Mao Chang and Zheng Xuan took the risk of changing the exegesis of most of the words in Mao poems and even changing the text to accommodate annotations. Hence, Reading the Book of Songs today should refer to Preface to Mao Poems rationally, using it as a convenient aid but not overly influenced by it, to avoid inappropriate or even wrong interpretation of the poems.

关 键 词：强制阐释 《诗经》 《毛诗序》 《邶风·静女》 郑玄 

分 类 号：I299[文学—中国文学]