本文主要針對《型世言》「如何型世」與「為何型世」這兩問題進行探究。由注重義法的語流之考察、擬書場的時空語境以及在「時事」、「造史」、「造經」之間的文化選擇三方面，分別敘述《型世言》「立言」的縱深度和特殊聚焦，審視陸人龍與陸雲龍兄弟編織故事、評論與宣傳思想之間，文本及評點、議論、篆刻用印等各方面文化生產所透露的演述技巧與大眾化傾向。 文中指出：《型世言》在演述的實際語境裡，結合立論與審美，強化勸懲的文體意識，融合時事、造經、造史的文學藝術創化，藉由「葫蘆格」的話本形式，細膩的編織語流、融合「圖──文」傳統時空思維，兼顧「俗趣」與「理趣」等小說修辭，其創作意圖不僅是時事與歷史結合的縱深向度，「言」的強調，即其論世的基本命題，乃是對「立言」傳統的典範回顧，陸氏兄弟力圖藉小說文類表明對歷史流向的主觀把握與詮釋權力。 This article is mainly focus on investigating “how” and “why” Xingshiyan (model) modeling the generation. The article one by one talks about the depth-of-field and particular centre points of Xingshiyan’s arguments through three aspects—inspecting the change flow of language emphasizing meaning and grammar, the context of time and space in fictitious story-telling-field, and the cultural alternatives between “current events”, “history creation” and “scripture creation”. It also examines how the stories, comments and thought-transmissions which made by Liu Ren-Long and Liu Yun-Ling reveal their demonstrative skill and the declination of popularization. The article points out that, in real demonstrative context, Xingshiyan combines both argument and aesthetics, underlining the preaching literary form, mixture the recreation of literature art in “current events”, “history creation” and “scripture creation”. It recreates the story-script form as “bottle gourd style” style, carefully composing new change flow of language, being mixture the traditional time-and-space thoughts of “picture and text”, and looking after both the rhetoric of fiction “vulgar delight” and “logic delight” at the same time. The intention of creating it is not the combination of the depth-of-field of the “current event” and history.
政大中文學報, 6, 49-73 Bulletin of the Department of Chinese Literature National Chengchi University