《風》、《雅》、《頌》首篇鄭箋闡微  

How did Zheng Xuan Annotate the Very Beginning of"Airs of the States,""Court Hymns,"and""Eulogies"

作　　者：李霖 Li Lin

机构地区：[1]北京大學中國古代史研究中心

出　　处：《中华文史论丛》2025年第1期1-42,405,共43页Journal of Chinese Literature and History

基　　金：國家社科基金一般項目“《毛詩傳箋》經學體系研究”(23BZW037)部分成果。

摘　　要：在《詩》的部類、篇次、章句等結構中,《風》、《雅》、《頌》是最高層級的結構。居於《風》、《雅》、《頌》首篇的《關雎》、《鹿鳴》、《清廟》,常常被解釋者赋予超乎群倫的地位,鄭玄亦對三詩用力頗深。然而出人意料的是,三詩之鄭箋,非但無一例外地大幅改易了毛傅的釋義,亦迥異於鄭玄此前所注《儀禮》、《禮記》、《尚書大傳》、《論語》時之《詩》説。遛不是巧合,而是鄭玄着眼於《毛詩》自身的隱性結搆,“結構取義”的結果。Among different layers of the"structures"(i.e.,sections,sequences,and chapters)that constitute the Classic of Poetry,the three main sections that divide the text,namely"Airs of the States,'"Court Hymns,"and"Eulogies"are of the highest importance.Since"Ospreys"(Mao#1),"Deer Calls"(Mao#161),and"Pure Temple"(Mao#266)are placed at the very beginning of each section,they are considered superior to most other poems by commentators.To our surprise,while Zheng Xuan annotated these three poems,his annotations not only diverged greatly from the interpretations given by the Mao Tradition but also were distinct from those given by himself recorded in the Book of Etiquette and Ceremonial,Book of Rites,Great Tradition of the Classic of Documents,and Analects.Zheng's divergences should not be regarded as random choices.Instead,they were thoughtful decisions driven by his intention to highlight the internal structure of the Mao Poetry.

关 键 词：鄭玄 《毛詩》 《關雎》 《鹿鸣》 《清廟》 

分 类 号：I207.22[文学—中国文学]