The Study on the Interpretation of 'The Spirit of Chun-Chio' in 'San Guo Zhi' and 'Jihn Shu'

「經」之為言「常」也， 此其體也；「經」之所以存者，「用」也， 與時俱變故能用。以是漢代以春秋決獄； 兩晉時期名教治國， 多有援春秋定禮制之例。可見「常、變」與時代文化之間有股張力。如果粗略地將經學的傳衍也依常與變分為兩股脈絡， 一是對經之「常」的闡釋， 這部分的具體呈現多為經學家的學術研究； 一是經之「用」，這部分即是受經學教育的士子對經學義理的實踐部分。論者大抵以「儒學衰微」、「經學玄學化」來概括魏晉經學特色。如果將經學發展放入切實的歷史事件中觀察， 也許更能窺見其來龍去脈， 亦更能見到經學在不同的時代環境， 不同的治世考量底下， 經書義理如何為治世者所接受或轉化。本論文目的即在於探究非專門治春秋之士， 他們如何在群體的詮釋摩盪之中， 呈現對「春秋大義」之掌握乃至實踐？本研究擬透過《三國志》、《晉書》裡士人對「春秋大義」的論述， 探究魏、晉時期的「春秋大義」風貌， 這其實也可說是魏晉士人「通經致用」最前線的作法。其次， 三國與兩晉因文化型態略有參差， 同時並觀應可見出文化轉型與經學致用彼此之間的牽引。“Jing(canon)” means a generally accepted law or rule, and it will last forever. In fact, itis practices of canons that makes canons adjust itself to the different needs of different eras.For example, In Han Dyn, officials settled lawsuits according to the spirit of Chun-Chio.From Wei to Jihn Dyn, learned persons conferred ceremonies according to the spirit ofChun-Chio. The studies of canons show the eternity of canons, and practices andinterpretations make the canons variable. There is traction between canons and cultures ofdifferent eras.In traditional opinion, it's decadence of Confucian in Wei-Jihn Dyn. It is supposed tobe more delicate if we study the situation in historical matters. This project aims to theinterpretations of “the spirit of Chun-Chio” in 'San Guo Zhi' And ‘Jihn Shu‘ (‘The Historyof the Three Kingdoms' And ‘The History of the Jihn Dyn.'), and try to manage the cause andeffect in the variation of Confucian. In the meanwhile, this project will compare differences ofinterpretations of “the spirit of Chun-Chio” in Three Kingdoms and Jihn Dyn, to

The Study on the Interpretations of "Three Commentaries of Chun-Chio (The Spring and Autumn Annals)" in Complete Works and Poetry of the Three Kingdoms

In the era of the Three kingdoms, most of the intelligentsia were writers,scholars, concurrently, were also politicos. Therefore when they addressed thepolitical issues or composed, they were affected by the Confucian classics. Forthis reason, when analysing the spread of Confucianism in the ages of theThree kingdoms, we can't ignore intelligentsia who were not specialists inConfucianism. In fact, they brought Confucianism in their compositions, and itwas taken as another kind of interpretations of Confucian classics.This essay will survey the Complete Works and the Complete Poetry ofthe Three Kingdoms to investigate what materials or issues of Chun-Chio andThree Commentaries of Chun-Chio are quoted, how they quote them, and theintertextual effects both to the interpretations of Chun-Chio and the style ofthe compositions. This essay intends to fulfill the gaps of previous studieswhich only focused on the specialists in Confucianism. This is a study on thereception history (Rezeptionsgeschichte) of Confucianism, especiallyChun-Chio, in the ages of Three Kingdoms. The outcomes can provide moredetail explanations on why and how the Confucianism is intermingled withmetaphysics.三國時期， 士人大多同時出入政治、文學與經學領域， 而且在議政、撰文之際， 時或流露宗經之思。因之， 探究三國經學面貌時， 對許多非專力於經學的士人亦不能棄而不論。這些大部分不曾闡注經傳的士人， 在奏議、書札及詩文創作中卻也不乏論經、用經， 所呈現的經義對經學之影響不容小覷。不論「建安風骨」或「正始之音」， 都是士人憂時抱志的文學表現， 只是兩者面對的環境壓力不同， 故思考向度也有變異， 此實魏晉以來儒、玄曖昧難釐之重要轉關。本研究擬透過《全三國文》及《全三國詩》觀察三國時期士人在詩文中對《春秋》及三傳的引用，並據此探究士人在論事取經、或創作時擷經、仿經的互文作用之下， 對「春秋大義」的闡釋。本論題乃擴大上一年計畫─ ─「《三國志》、《晉書》所見對「春秋大義」之闡發」之文獻範疇， 進一步深入探究士子在言志抒情繹思中， 經學扮演何等角色？ 所謂「儒學衰微」、「經學玄學化」是如何點滴發生的？ 本論文目的在於深入士子更私我的創作領域， 觀察三傳的材料與《春秋》大義等經學思維如何影響士人的言說交際與創作； 同時士人又如何回過頭來在創作時有意無意間造成經傳闡釋的質變？ 在研究材料與觀照角度上， 應能提供與前賢既有研究成果不同角度的補充

衝突與抉擇:「虯髯客傳」的人物性格塑造及其意涵

Plots and characters are the two major elements to construct novels. The conflicts in a plot serve to shape the personalities of characters. Therefore, through the conflicts that the characters in a novel confront and the decisions they make, readers are able to understand the characters’ personalities as well as the theme which the author desires to present. Chiou Ran Ke Juan (The Story about the Man with Curly Beard) is the most well-known legend of Tang Dynasty. However, it is hard for readers to determine the characters’ personalities. Chiou Ran Ke, for instance, is thought to be trapped by his fate, so he desperately runs away. Comments on Li Jing vary greatly; some praise him as a chivalry, but others mock his weakness and hesitation. Examining how the characters react to their conflicts may be a more precise way to know their personalities. The author of Chiou Ran Ke Juan, depicts the essential personal qualities that a hero possesses by presenting the actions of three different personalities: Li Jing, Hung Fu and Chiou Ran Ke. Through Li Jing’s kindness, Hung Fu’s wisdom, and Chiou Ran Ke’s kindness and bravery, the author has created a timeless work of art. Chiou Ran Ke Juan is a legend of heroes; a hero is never a victim of circumstances and instead a leader in all aspects of life. This study induces that a true hero embodies the qualities of wisdom, kindness, and braveness, a combination of these three characters. These virtues are cultivated and not a result of fate.情節與人物為小說構成之兩大元素，而情節的「衝突」點又有形塑人物性格之功能，因此，透過小說中各個角色面臨的衝突與之後的抉擇，很能掌握人物性格以及作者意欲呈現的主旨。 〈虯髯客傳〉是唐傳奇名篇，但讀者對其中角色之性格，常拿捏不定，比如論定虯髯客擺脫不了天命的侷限，因而有頹然遠走的悲劇；對李靖這個人物評價落差尤大，前人許之為「俠」，後人卻譏其儒弱猶豫。如果由人物對衝突的處理來檢視，或許能細膩地窺知其角色性格。 〈虯髯客傳〉作者利用李靖、紅拂、虯髯客三個角色面對衝突時所採取的提擇，逐一刻畫所謂「英雄」應當具備的人格特質：李靖之仁、紅拂之智、虯髯之仁與勇，這樣的手法，讓此篇傳奇在不同的時空背景底下，也還能擁有其自身完足的藝術生命。蓋所謂「虯髯客傳」者，「英雄傳」也，而「英雄」是創造時勢而非被時勢侷限的人。本研究以為，作者想呈現的理想中的英雄俠客，乃合李靖、紅拂、虯髯為一的「智仁勇」三達德兼具的人，這樣的人格特質，靠的是修為，而非天命