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B=A1u=C1=F4=B6h=B8=D6=A1v=A1B=A1u=B5=FA=AA=AB=B8=D6=A1v=B5=A5=A1A=A4S=A6=B3=
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v=B5=A5=A1F=A1q=C2=F8=C0=C0=A1r=A6=B3=A7=E7=B1=A1=A8t=B2=CE=A4=A4=AA=BA=A1=
u=B7R=B1=A1=B8=D6=A1v=A1B=A1u=BF=CB=B1=A1=B8=D6=A1v=A1B=A1u=AFU=B8q=B5=FA=
=C3h=B8=D6=A1v=A1B=A1u=B5=FA=AA=AB=B8=D6=A1v=A1B=A1u=A4s=A4=F4=B8=D6=A1v=A1=
B=A1u=B9C=A5P=B8=D6=A1v=A1B=A1u=A5=C8=A8=A5=B8=D6=A1v=A1B=A1u=A5=D0=B6=E9=
=B8=D6=A1v=B5=A5=A1A=A4S=A6=B3=B1=D4=A8=C6=A8t=B2=CE=A4=A4=AA=BA=A1u=B5=FA=
=A5v=B8=D6=A1v=A1B=A1u=B9C=ABL=B8=D6=A1v=A1B=A1u=A9=BA=A6=A7=B8=D6=A1v=A1=
B=A1u=AFU=B8q=B1=D4=A8=C6=B8=D6=A1v=B5=A5=A1A=B4N=ACO=A5=D1=C3D=A7=F7=B2=CE=
=A4@=B5=F8=C2I=A4=C0=AAR=A9=D2=B1o=AA=BA=A6=A8=AAG=A1C=A1^=20
=20
=20
A=20
Study of the Style of the =A1=A7Miscellaneous=A1=A8 =
categories=20
in the Wen Hsuan
HUNG=20
Shun-lung
Three=20
interesting =A1=A7Miscellaneous=A1=A8 categories are found in the =
poetry of the=20
Wen Hsuan: the Miscellaneous Songs, Miscellaneous Poems, =
and=20
Miscellaneous Imitative Poems. This research analyzes and explains =
the=20
concepts, characteristics, principles of categorization, and =
themes of=20
these works, thus contributing to the understanding of Six =
Dynasties=20
literature. The Miscellaneous categories are heterogeneous not =
only in=20
that they do not correspond to standard categories, but also in =
that the=20
range of individual works within each category is quite diverse. =
Why are=20
writings that differ so greatly from each other placed together? =
This=20
research attempts to identify the nature of the incongruity =
between these=20
works and other poems, either in style or in content. This =
incongruity=20
explains why the poems were grouped together in the editorial =
process and=20
termed =A1=A7miscellaneous.=A1=A8 Nevertheless, common features =
can still be found=20
among them: The Miscellaneous Songs are poems composed for =
singing; the=20
Miscellaneous Poems comprises poems that cannot be sung; and the=20
Miscellaneous Imitative Poems are poems composed through =
imitation. From a=20
thematic perspective, each of the three categories has its own =
theme, but=20
shares stylistic features with the other two categories. This is =
the=20
peculiar feature of the Miscellaneous categories. =
=
By=20
exploring the nature of these three categories, this paper =
provides an=20
interesting perspective on the categorization of literature in =
terms of=20
formal features and theme. In terms of theme, in the Miscellaneous =
Songs=20
we find a narrative approach in poems such as =A1=A7hero =
poems,=A1=A8=20
=A1=A7state-building poems,=A1=A8 and =A1=A7war poems.=A1=A8 In =
the Miscellaneous Poems, we=20
find a lyrical approach in poems such as =A1=A7love poems,=A1=A8 =
=A1=A7friendship poems,=A1=A8=20
=A1=A7kinship poems,=A1=A8 =A1=A7narrow-sensed expressions of =
feeling poems,=A1=A8 =A1=A7idyllic=20
poems,=A1=A8 =A1=A7landscape poems,=A1=A8 =A1=A7hermit =
poems,=A1=A8 and =A1=A7article poems=A1=A8 on the one=20
hand, and a narrative approach in poems such as =A1=A7history =
poems,=A1=A8 =A1=A7frontier=20
poems,=A1=A8 =A1=A7war poems,=A1=A8 and =A1=A7narrow-sensed =
narrative poems=A1=A8 on the other. The=20
Miscellaneous Imitative Poems display a lyrical approach in poems =
such as=20
=A1=A7love poems,=A1=A8 =A1=A7kinship poems,=A1=A8 =
=A1=A7narrow-sensed expressions of feeling=20
poems,=A1=A8 =A1=A7article poems,=A1=A8 =A1=A7landscape =
poems,=A1=A8 =A1=A7wandering immortals poems,=A1=A8=20
=A1=A7mystery poems,=A1=A8 and =A1=A7idyllic poems,=A1=A8 and a =
narrative approach in poems=20
such as =A1=A7historic poems,=A1=A8 =A1=A7hero poems,=A1=A8 =
=A1=A7war poems,=A1=A8 and =A1=A7narrow-sensed=20
narrative poems.=A1=A8
=20
Keywords:=20
Wen Hsuan =20
Miscellaneous Songs =
Miscellaneous=20
Poetry
Miscellaneous=20
Imitative poems =20
theme
lyric=20
and narrative=20
=20
=20
=20
=A8k=A9=CA=B1=A1=A6=E2=A4=DB=B7Q=AA=BA=AC=FC=A8=E5=A2w=A2w=B7=
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=B1i =20
=B2Q =20
=AD=BB=20
=20
=20
=
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B=B7N=C3=D1=A7=CE=BAA=A1B=A4=E5=A4=C6=A8=EE=A7@=AA=BA=A4=AC=B0=CA=C3=F6=AB=
Y=A6=B9=A4@=AB=E4=A6=D2=AC[=BAc=A8=D3=B1=B4=B0Q=AD=B8=AD=EB=B5=FC=A4=A4=AA=
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/SPAN>――=A8k=A9=CA――=AA=BA=A7=D6=B7P=BBP=BB=DD=ADn=A1C=20
=20
=B4N=AD=B8=AD=EB=B5=FC=AA=BA=AA=C5=B6=A1=AA=ED=B2{=A6=D3=A8=A5=A1=
A=BB=D3=BB=D5=A1B=B5e=BC=D3=BBP=AEx=B0|=B3o=A8=C7=A9t=B5=B4=B2=A8=C2=F7=AA=
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c=B3]=AA=BA=A1u=C2=C3=BCb=A4=A7=A9=D2=A1v=A1C=B3o=A8=C7=AA=C5=B6=A1=A9=CE=
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X=A8k=A9=CA=AA=BA=A6=E2=BC=A4=BFs=B5=F8=A1B=A6=DB=C5=CA=A4=DF=B2z=A1B=A9=CA=
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A=A5=BF=A4=C1=A6X=ACy=A6=E6=BAq=A6=B1=A4=A7=BC=D0=B7=C7=A4=C6=A5]=B8=CB=A4=
k=A9=CA=B1=A1=A6=E2=AC=B0=AE=F8=B6O=B0=D3=AB~=A1A=B4=A3=A8=D1=B7P=A9x=A8=EB=
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=BAA=BA=A1=A8=AC=AA=BA=AET=BC=D6=AE=C4=C0=B3=A1C=B3o=BA=D8=AFS=AC=B0=A8k=A9=
=CA=A5=FE=A4=E8=A6=EC=BB=DD=ADn=A6=D3=ADq=B0=B5=AA=BA=A4k=A9=CA=A8v=B9=B3=
=A1A=A4=A3=B6=C8=ACO=A8k=A9=CA=B1=A1=A6=E2=A4=DB=B7Q=AA=BA=B5=EA=BAc=A1A=A4=
]=ACO=A4@=BA=D8=A9=CA=A7O=ACF=AAv=AA=BA=AB=D8=BAc=A1C=A5H=A4k=A9=CA=A8v=B9=
=B3=A7@=AC=B0=AET=BC=D6=AE=F8=B6O=AA=BA=C0=B3=BAq=ADI=AB=E1=A1A=B9=EA=C1=F4=
=C2=C3=B5=DB=A4=E5=A4=C6=A8=EE=A7@=AA=BA=A5=C8=BE=F7=A1C=20
=20
=20
The=20
Aesthetics of Male Fantasy:
The=20
Representation of Women in Wen
T=A1=A6ing-yun=A1=A6s=20
Tz=A1=A6u=20
Poetry
CHEUNG=20
Suk-hong
=20
This article =
attempts to=20
shed new light on the representation of women in Wen T'ing-yun's=20
Tz'u poetry by drawing on theories of popular culture, =
consumption,=20
psychoanalysis, and gender studies.
=
Tz'u=20
poetry is a form of popular song and entertainment pertaining to =
woman.=20
Written and consumed by men, Tz'u poetry is a locus of =
gender=20
politics and cultural production. I analyze the artistic devices =
by which=20
women are represented in Wen T'ing-yun's Tz'u poetry to =
reveal its=20
sexual and political implications. With their characteristic =
visual=20
imagery, delicate sensibility, distanced objectivity, and implicit =
association, the exposition of settings and the description of =
images of=20
women in Wen T'ing-yun's lyrics are highly standardized to serve =
the needs=20
of the male consumer. In most cases, the boudoir, tower, and =
garden are=20
the typical settings in which women are staged and confined. These =
feminine spaces not only isolate women from the outside world, but =
are=20
designed for obsessive male voyeurism and possession. Moreover, =
the women=20
in Wen T'ing-yun's lyrics are packaged as a fetish commodity to =
satisfy=20
men's institutionalized wants. Women's clothes and ornaments, =
appearances=20
and bodies, actions and gestures, and voices and speech are all =
eroticized=20
and objectified to gratify the male gaze. When men consume popular =
songs,=20
they also consume the images of women in the songs and obtain =
satisfaction=20
from their desire for women. In this way, women are encoded as =
signs to=20
fit men's psychological needs and patriarchal narcissism, in which =
domination and subordination are expressed. Thus in the disguise =
of=20
popular song and entertainment, the representation of women in Wen =
T'ing-yun's lyrics is actually a form of power construction within =
patriarchal ideology.
=20
Keywords:=20
commodity fetishism =20
voyeurism speculum =
sign=20
consumption =20
symbolic order
the=20
pleasure of the text=20
=20
=20
=20
=A5=D1=A1u=A7=CE=B4=DD=A4=A7=B0g=A1v=AE=A9=A1u=AF=AB=A5=FE=A4=
=A7=B9=D2=A1v=A2w=A2w=BD=D7=AAR=B7=ED=A5N=C0=B8=BC@=20
=A1m=AE}=A4E=B8g=A4=C9=A9x=B0O=A1n=A1B=A1m=AC=FC=A4k=AFI=BAn=B0O=A1n
=B4=A3 =20
=ADn=20
=20
=20
=
=A1m=AE}=A4E=B8g=A4=C9=A9x=B0O=A1n=A9M=A1m=AC=FC=A4k=AFI=BAn=B0O=A1n=ACO=A4=
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A=BC@=B1=A1=B5=DB=AD=AB=C2I=B3=A3=A5H=AC=FC=C1=E0=AC=B0=C6[=B7=D3=A1A=B1=B4=
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=B8g=A4=C9=A9x=B0O=A1n=A1A=A8=E4=B9=EA=ACO=A1u=AE}=A4E=B8g=BD}=A9x=B0O=A1=
v=A1F=C3D=AC=B0=A1m=AC=FC=A4k=AFI=BAn=B0O=A1n=A1A=A8=E4=B9=EA=ACO=A1u=C1=E0=
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=A6=F3=C5=DC=A6=A8=AC=FC=A4k=A6=D3=BF=B2=A9=F3=AFI=BAn=A1A=A4G=A4H=A4=DF=B2=
z=B7N=C3=D1=AA=BA=B8=C0=C5=DC=BE=FA=B5{=A5=BF=ACO=A5=BB=A4=E5=B7N=B1=FD=B1=
=B4=B0Q=AA=BA=BD=D7=C3D=A4=A7=A4@=A1C=20
=20
=20
=
=C3D=A5=D8=A1u=A7=CE=B4=DD=A1v=A1B=A1u=AF=AB=A5=FE=A1v=A4=A7=B5=FC=ABY=B1=
q=A1m=B2=F8=A4l=A1E=BEi=A5=CD=A5D=A1n=C2=E0=A4=C6=A6=D3=A8=D3=A1C=B2=F8=A4=
l=BD=D7=A7=CE=C5=E9=A4=A7=B4=DD=A8=C3=ABD=A5u=B4N=A4=E2=A8=AC=A6=D3=A8=A5=
=A1A=A5=E7=A5]=ACA=AD=B1=BB=AA=C1=E0=AD=AE=A4=A7=A4H=A1F=A6=D3=A9_=C1=E0=B5=
L=A4=F1=AA=BA=AE}=A4E=B8g=A1B=ADJ=BBA=AA=E1=A1A=A5=E7=A5i=AF=C7=A4J=A1m=B2=
=F8=A4l=A1n=AE=D1=A4=A4=A1u=A7=CE=B4=DD=A1v=A4H=AA=AB=A1A=A6]=A6=B9=B5=A7=
=AA=CC=A5[=A5H=C2=E0=A5=CE=A1C=20
=20
=A5=BB=A4=E5=B0=A3=ABe=A8=A5=A1B=B5=B2=BBy=A4=A7=A5~=A1A=A4=C0=A8=
=E2=B8`=BD=D7=ADz=A1C=B2=C4=A4@=B8`=A7Y=ACO=B1q=A5D=A8=A4=A4H=AA=AB=A1u=BB=
=AA=C1=E0=A7=CE=B4=DD=A1v=AA=BA=A6@=A6P=AFS=C2I=A4=C1=A4J=A1A=B1=B4=B0Q=AE=
}=A4E=B8g=A9M=ADJ=BBA=AA=E1=C1=F6=B5M=A9=CA=A7O=A1B=A8=AD=A4=C0=A1B=A6a=A6=
=EC=A1B=BB=DA=B9J=A1B=A7x=B9=D2=A4=CE=A4=DF=B2z=B7N=C3=D1=AC=D2=A4=A3=A6P=
=A1A=A6=FD=ACO=A5L=AD=CC=B3=A3=B4=BF=B8g=A6=DB=A7=DA=BB{=A6P=AA=BA=AC=A1=B5=
=DB=A1A=A6=D3=AB=E1=A8=AB=B9L=A6=DB=A7=DA=B0g=A5=A2=AA=BA=AAh=BFA=A1A=B3=CC=
=AB=E1=A5H=B7N=A7=D3=A7=E0=BE=DC=AF=AB=A5=FE=A1A=A6^=C2k=AFu=A7=DA=A1C=A7=
=CE=B4=DD=ACO=A8=E4=A1u=A5~=A6b=A4=A3=AC=FC=A1v=A4=A7=A9=D2=A6b=A1A=AF=AB=
=A5=FE=ABh=ACO=A8=E4=A1u=A4=BA=A6b=AC=FC=B5=BD=A1v=A4=A7=A9=D2=A6b=A1A=A6=
=A8=AC=B0=A1u=A4=A3=AC=FC=A4=A7=AC=FC=A1v=AA=BA=A4H=AE=E6=B6=EC=B3y=A1C=20
=20
=20
=
=B2=C4=A4G=B8`=BD=D7=ADz=B3o=BA=D8=A1u=A4=A3=AC=FC=A4=A7=AC=FC=A1v=AA=BA=A4=
H=AE=E6=B6=EC=B3y=A1A=A6b=B8}=A6=E2=AA=ED=BAt=A1B=B7=C6=BD]=AFS=BD=E8=A1B=
=AD=F5=BE=C7=AB=E4=B7Q=A4T=A4=E8=A9=D2=AEi=B2{=AA=BA=C3=C0=B3N=BA=EB=AF=AB=
=A1C=A5=D1=A9=F3=B7=ED=A5N=B7s=BDs=C0=B8=AC=B0=B5=DB=A4O=A9=DD=AEi=A4H=AA=
=AB=AA=BA=A4=DF=C6F=AA=C5=B6=A1=A1B=A4=DF=B2z=B5=B2=BAc=A9M=A5=CD=A9R=B7N=
=C3=D1=A1A=A6]=A6=D3=A5=B4=AF}=A1u=A5=CD=A5=B9=B2b=A5=BD=A4=A1=A1v=A4=A7=B8=
}=A6=E2=A6=E6=B7=ED=A1A=B3o=A8=E2=C4=D5=C0=B8=A7Y=B2`=A8=E3=A6p=A6=B9=AFS=
=BD=E8=A1F=A4=D7=A8=E4=AE}=A4E=B8g=A7=F3=ACO=B5=B2=A6X=A1u=A4=A1=A5=CD=A1=
v=A6=E6=B7=ED=A1A=B2O=BAv=BA=C9=ADP=B5o=B4=A7=A5q=B0=A8=BEE=A1m=A5v=B0O=A1=
n=A4=A4=AA=BA=B7=C6=BD]=BA=EB=AF=AB=A1C=B3=CC=AB=E1=A5H=A6=D1=A4l=AC=FC=C1=
=E0=B5=BD=B4c=A4=A7=C5G=C3=D2=A4=CE=B2=F8=A4l=A7=CE=AF=AB=B4=DD=A5=FE=A4=A7=
=AC=FC=BE=C7=AB=E4=A6=D2=A1A=B1=B4=B0Q=B3o=A8=E2=C4=D5=C0=B8=AA=BA=A5D=C3=
D=B7N=C4=AD=A1C=20
=20
=AE}=A4E=B8g=A9M=ADJ=BBA=AA=E1=A5=D1=A1u=A7=CE=B4=DD=A4=A7=B0g=A1=
v=AE=A9=A1u=AF=AB=A5=FE=A4=A7=B9=D2=A1v=A1A=B3=A3=B8g=B9L=A1u=A8=A3=A4s=AC=
O=A4s=A1B=A8=A3=A4=F4=ACO=A4=F4=A1v=AA=BA=BB{=A6P=A1A=A8=EC=A1u=A8=A3=A4s=
=A4=A3=ACO=A4s=A1B=A8=A3=A4=F4=A4=A3=ACO=A4=F4=A1v=AA=BA=BD=E8=BA=C3=A1A=B2=
=D7=A9=F3=B6i=A4J=A1u=A8=A3=A4s=ACO=A4s=A1B=A8=A3=A4=F4=ACO=A4=F4=A1v=AA=BA=
=B6=EA=BF=C4=A1C=20
=20
=20
The=20
Realization of Spiritual Perfection
through=20
Physical Deformity: On the Modern
Plays=20
The Promotion of Hsü Chiu-ching
and=20
A Beauty's Attainment of Nirvana
LI=20
Hui-mien
=20
The Promotion =
of Hsü=20
Chiu-ching by Guo Da-yu and Xi Zhigan and A Beauty's =
Attainment of=20
Nirvana by Xi Zhigan are two new modern Chinese plays that =
have won=20
high acclaim on both sides of the Taiwan Strait. They were staged =
in=20
Taiwan respectively by the Hupei Han Operetta Troupe in 1993 and =
by the=20
National Fu-hsing Chinese Operetta Troupe in 1992 and 1995. The =
Promotion of Hsü Chiu-ching depicts the official career =
of an ugly=20
man, depicting how he experiences demotion, is later happily =
promoted, and=20
eventually decides to abandon his post. A Beauty's Attainment =
of=20
Nirvana relates how an ugly girl is transformed into a beauty =
and=20
finally attains the state of nirvana. Each play emphasizes the =
contrasts=20
between beauty and ugliness, the human tendency to judge people by =
their=20
appearance, and the creative theme that ugliness is beauty. This =
paper=20
explores the processes by which ugliness is transformed into =
beauty in=20
these two plays.
=
=A1=A7Physical=20
deformity=A1=A8 and =A1=A7spiritual perfection,=A1=A8 the two key =
notions in the title of=20
the paper, derive from the Chuang-tzu. Hsü Chiu-ching =
and Hu=20
Ts'ui-hua can both be considered =A1=A7deformed=A1=A8 in the =
Chuang-tzu's=20
sense, since deformity there covers ugliness in addition to =
physical=20
handicaps. This paper explores the thematic implications of the =
two plays=20
by way of the Lao-tzu's dialectic of the beautiful and the =
ugly and=20
the Chuang-tzu's aesthetic thoughts on physical deformity =
and=20
spiritual perfection.
=
This paper=20
is divided into two sections. The first deals with the ugliness of =
Hsü=20
Chiu-ching and Hu Ts'ui-hua. Diametrically different in sex, =
identity,=20
status, experiences, predicament, and psychological awareness, =
both=20
experience a process of spiritual growth in three stages. First =
they live=20
in self-awareness; next, they momentarily go astray; and then =
eventually=20
they reach spiritual perfection through their strong will power =
and regain=20
their true selves. Their ugly appearance turns out to be mere =
physical=20
deformity, while their inner beauty and goodness eventually bring =
them to=20
spiritual perfection. This process of transformation is the =
formation of=20
personality based on the notion of the beauty of the =
non-beautiful.=20
=
The second=20
section discusses the aesthetics of this sort of personality =
formation by=20
way of role acting, clownish attributes, and philosophical =
reflection. In=20
emphasizing its characters' spiritual life, psychological =
structure, and=20
awareness of their own existence, modern Chinese drama has =
attempted to=20
transcend the traditional role types of sheng, tan,=20
ching, mo, and ch'ou. This trend is manifest =
in the=20
two plays under discussion, especially The Promotion of =
Hsü=20
Chiu-ching. Here the role types sheng and ch'ou =
are=20
aptly combined, and clownish humor, as described by Ssu-ma Ch'ien, =
reaches=20
its epitome.
=20
Keywords:=20
modern plays =20
physical deformity spiritual=20
perfection
clownish=20
humor =
The=20
Promotion of Hsü Chiu-ching
A=20
Beauty's Attainment of Nirvana
=20
=20
=20
=B1q=BBO=C6W=A4=E9=BE=DA=AE=C9=B4=C1=A4p=BB=A1=A4=A4=A1u=A6=
=DB=B5M=A1v=AA=BA=A4T=BA=D8=A7=CE=BAA=20
=AC=DD=B1i=A4=E5=C0=F4=A1q=A9]=B7=E1=A1r=AA=BA=AE=ED=B2=A7=A9=CA<=
/SPAN>=20
=A6=BF =20
=C4_ =20
=B3=A6=20
=B4=A3 =20
=ADn=20
=20
=20
=
=A5=BB=A4=E5=B1=B4=B0Q=A4=E9=BE=DA=AE=C9=B4=C1=A4p=BB=A1=A7e=B2{=A6=DB=B5=
M=AA=BA=A4T=BA=D8=A4=E8=A6=A1=A1A=B1q=A6=B9=B1=B4=B0Q=A6b=A1q=A9]=B7=E1=A1=
r=A4=A4=A1A=B3z=B9L=B1=D4=ADz=AA=CC=BBP=A5D=ADn=A4p=BB=A1=A4H=AA=AB=A1A=B1=
i=A4=E5=C0=F4=A1]1909-1978=A1^=A6p=A6=F3=AC=D9=AB=E4=A6=DB=B5M=BBP=A4H=AA=BA=C3=F6=ABY=A1C=A9=
=F3=ACO=A1A=A7@=AA=CC=B5o=B2{=A1A=B3=FE=B0=F2=A6b=A7Q=A5=CE=ABp=A5=CD=AA=BA=
=B0=F2=C2=A6=A4W=A1A=B1i=A4=E5=C0=F4=A9=F3=A6=DB=B5M=A1A=B5o=AEi=A5X=A4@=BA=
=D8=A4=AC=AC=DB=A5=CD=AE=A7=A1A=A6h=AD=B1=B9C=B0=B3=AA=BA=B9=F1=B7s=AA=BA=
=B5=F8=B3=A5=A1A=A8=E4=A4=A4=A1A=AC=C6=A6=DC=B1N=A6=DB=B5M=B5=F8=AC=B0=A4=
=A3=C2_=B3=D0=A5=CD=A1B=B5o=AEi=B7N=B8q=AA=BA=A5=BB=C5=E9=A1A=A6=B9=ABY=A4=
=E9=BE=DA=A4p=BB=A1=A4=A4=A9=D2=A8u=A8=A3=A1C=20
=20
=20
Nature=20
in Chang Wen-Huan=A1=A6s
=A1=A7Night=20
Monkey=A1=A8
CHIANG=20
Pao-ch'ai
=
Taiwanese=20
novels written during the Japanese reign developed three views of =
nature.=20
In these novels, nature is not only a place where characters make =
a living=20
and achieve a sense of local identity, but also a medium through =
which to=20
express emotion. In Chang Wen-Huan's =A1=A7Night Monkey=A1=A8, =
however, the function=20
of nature extends beyond these three roles. Because the main =
characters=20
are simple village people incapable of reflecting on the =
implications of=20
their lives, many ideas are expressed through the dramatized =
narrator.=20
Though its basic role is still that of a life-sustaining =
environment,=20
nature becomes a transcendent entity that produces eternal values =
and=20
psychological freedom.
=20
Keywords:=20
nature =
Chang=20
Wen-Huan =
=A1=A7Night=20
Monkey=A1=A8
Taiwanese=20
novels =
Taiwanese=20
literature =20
Japanese reign
=20
=20
=20
=A4=E5=C5=E9=B7N=C3=D1=BBP=A4=E5=BE=C7=A5v=C5=E9=A8=D2=20
=B8=AD =20
=B1^=20
=B4=A3 =20
=ADn=20
=20
=B0w=B9=EF=BA=EE=A6X=AB=AC=B3q=A5v=A6=A1=A4=A4=B0=EA=A4=E5=BE=C7=A5=
v=BC=B6=ADz=C5=E9=A8=D2=A4W=AA=BA=A4@=AF=EB=B0=B5=AAk=B4=A3=A5X=BB=E9=C4=B3=A1C=BB{=AC=B0=AD=BA=A5=FD=C0=B3=B8=D3=B1j=A4=C6=A4=E5=C5=E9=B7N=C3=D1=A1A=A5[=B1j=A4=E5=C5=E9=AA=BA=C5=E9=B5=F4=A1B=BBy=C5=E9=A9M=AD=B7=AE=E6=A4=
T=BCh=AD=B1=A6b=A4=E5=BE=C7=A5v=A4=A4=AA=BA=B5=B2=BAc=A9=CA=A6a=A6=EC=A1A=B3o=ACO=ABO=AB=F9=A4=E5=BE=C7=A5v=AA=BA=A1u=A4=E5=BE=C7=A9=CA=A1v=AA=
=BA=AB=C8=C6[=B0=F2=C2=A6=A1C=A8=E4=A6=B8=A1A=A6b=BDT=A5=DF=BE=FA=AE=C9=A4=
=E5=C5=E9=BE=C7=AA=BA=ABe=B4=A3=A4U=A1A=A4=E5=BE=C7=A5v=BC=B6=ADz=C5=E9=A8=
=D2=A4=A4=AA=BA=A4=C0=B4=C1=BC=D0=B7=C7=A1B=B5=FB=A7P=A4=E5=C5=E9=BB=F9=AD=
=C8=AA=BA=AD=EC=ABh=A1B=A1u=BA=EE=A6X=AB=AC=A1v=BBP=A1u=B3q=A5v=A6=A1=A1v=
=AA=BA=AD=DD=C5U=B5=A5=B0=DD=C3D=A4~=AF=E0=B1o=A8=EC=A7=B4=B7=ED=B3B=B2z=A1=
C=20
=20
=20
Stylistic=20
Consciousness and the Layout
of=20
Literary History
YE=20
Gang=20
This article =
criticizes the=20
received approach for laying out Chinese literary history into a=20
comprehensive, chronological pattern. The author proposes that the =
objective foundation by which to keep literary history =
=A1=A7literary=A1=A8 is to=20
emphasize stylistic consciousness and the three stylistic =
levels-genre,=20
tenor, and style-that are of structural significance in literary =
history.=20
Only once a diachronic stylistics is established can issues such =
as=20
criteria for classifying different periods, standards for =
stylistic=20
evaluation, and joint consideration of comprehensiveness and =
chronology be=20
treated appropriately.=20
=20
Keywords:=20
form of literary history =20
literary form =20
genre =20
tone
style=20
=20
=20
=20
=A5H=A4=E5=AC=B0=B8=D6=AA=BA=C6[=A9=C0=E9Q=C5=DC=20
=A7d =20
=B2Q =20
=B9f=20
=B4=A3 =20
=ADn=20
=20
=20
=
=A6=DB=A1m=AB=E1=A4s=B8=D6=B8=DC=A1n=B8=FC=A1u=A5H=A4=E5=AC=B0=B8=D6=A1v=A4=
@=B5=FC=A5H=A8=D3=A1A=AB=E1=A5@=B8=E0=C4=C0=A4=A3=B5=B4=A9=F3=AE=D1=A1C=AA=
=BD=A6=DC=B2{=A5N=A1A=BD=D7=AA=CC=AA=BA=B5=F8=C2I=A4=B4=A5D=ADn=B6=B0=A4=A4=
=A6b=A5H=B4=B2=C5=E9=A4=E5=AC=B0=B8=D6=AA=BA=BB=F9=AD=C8=BB{=A6P=A4W=A1A=A6=
=D3=C5=E9=BB{=A5H=B4=B2=A4=E5=AC=B0=B8=D6=AA=BA=A4=E8=A6=A1=ACO=BE=FA=A8=D3=
=AC=E3=A8s=AA=BA=AD=AB=A4=DF=A1C=A5=BB=A4=E5=B4=A3=A5X=AA=BA=AC=E3=A8s=B6=
i=B8=F4=A1A=ACO=A5=B2=B6=B7=B1N=A5H=A4=E5=AC=B0=B8=D6=AA=BA=A4=E5=C5=E9=C6=
[=A9=C0=BBP=B8=D6=BE=C7=C6[=A9=C0=B5=B2=A6X=A1A=A6b=B8=D6=BE=C7=AA=BA=B5o=
=AEi=B9L=B5{=A4=A4=A6=D2=B9=EE=A4=E5=C5=E9=AA=BA=B0_=B7=BD=BBP=C5=DC=B2=A7=
=AA=BA=A4=BA=B2[=A1A=A4~=AF=E0=A8=E3=C5=E3=A5=A6=AA=BA=B7N=B8q=A1C=B7N=B8=
q=AA=BA=BAc=AB=D8=A4S=C3=F6=ABY=A9=F3=AD=F0=A1B=A7=BA=B8=D6=BAq=AD=B7=AE=E6=
=C3=FE=AB=AC=AA=BA=B9=BA=A4=C0=A4=CE=A4=A4=B0=EA=B8=D6=BAq=A5=BB=BD=E8=BD=
d=B3=F2=AA=BA=AA=D6=A9w=A1C=A5=BB=A4=E5=A5H=AC=B0=A7=BA=A5N=A5H=AB=E1=B9=EF=
=A5H=A4=E5=AC=B0=B8=D6=AA=BA=B1=B5=A8=FC=B9L=B5{=A1A=BC=D0=BBx=B5=DB=A4=A4=
=B0=EA=B8=D6=BAq=B6=C7=B2=CE=A5=CD=A9R=AA=BA=A7=B9=A6=A8=A1A=ACG=AC=DB=C3=
=F6=C6[=A9=C0=AA=BA=E9Q=C5=DC=B9=EA=A6=B3=BD=D7=ADz=A4=A7=BB=F9=AD=C8=A1C=
=20
=20
=20
Evolution=20
of the Concept of
=A1=A7Prose=20
as Poetry=A1=A8=20
NG=20
Suk-tin=20
=
Ever since=20
the phrase =A1=A7prose as poetry=A1=A8 appeared in the =
Hou-shan=20
shih-hua, many interpretations of it have been offered in =
various=20
critical studies. Critics have attended mainly to the value of =
using prose=20
as poetry, and the emphasis of academic research has been on =
recognizing=20
the ways of using prose as poetry. This paper tries to offer a =
different=20
perspective on this issue, proposing that the concept of genre in =
=A1=A7prose=20
as poetry=A1=A8 must be considered together with the concept of =
poetics. The=20
meaning of genre can be foregrounded only when the significance of =
its=20
origin and transformation is investigated in light of the =
development of=20
poetics. The construction of this meaning is related to the=20
differentiation of styles and forms of T'ang and Sung poetry, and =
the=20
definition of Chinese poetry also counts in that construction. =
This paper=20
holds that the reception of =A1=A7prose as poetry=A1=A8 after the =
Sung Dynasty marks=20
the perfection of traditional Chinese poetry, and thus the =
development of=20
related concepts is of paramount importance.=20
=20
Keywords:=20
concept of genre =20
concept of poetics system of =
norms=20
taste =
interrelation between=20
poetry and prose
consciousness=20
of differentiating genre=20
=20
=20
=20
=B1q=A5q=B0=A8=BEE=A1m=A5v=B0O=A1E=A4=D3=A5v=A4=BD=A6=DB=A7=
=C7=A1n=AC=DD=A1u=BA~=A5N=AE=D1=A7=C7=A1v=AA=BA=C5=E9=A8=EE=20
=A2w=A2w=A5H=A1u=A7@=AA=CC=A6=DB=A7=C7=A1v=AC=B0=A4=A4=A4=DF=20
=A8=AE =20
=A6=E6 =20
=B0=B7=20
=B4=A3 =20
=ADn=20
=20
=20
=
=AE=D1=A7=C7=A4=A7=C5=E9=A1A=BBF=A6=DB=A5=FD=AF=B3=A1A=AD=A4=A4=CE=A8=E2=BA=
~=A1A=B5o=AEi=AFq=B3=C6=A1A=A8=E4=A4=A4=A5q=B0=A8=BEE=A1m=A5v=B0O=A1E=A4=D3=
=A5v=A4=BD=A6=DB=A7=C7=A1n=A8=E3=A6=B3=A9=D3=A5=FD=B1=D2=AB=E1=AA=BA=AD=AB=
=ADn=A6a=A6=EC=A1C=A5=BB=A4=E5=A5H=A5q=B0=A8=BEE=A1q=A4=D3=A5v=A4=BD=A6=DB=
=A7=C7=A1r=C5=E9=A8=EE=A4=A7=A4=C0=AAR=AC=B0=B0=F2=C2I=A5X=B5o=A1A=A6A=B3=
z=B9L=B9=EF=A8=E4=A5L=B2{=A6s=AA=BA=BA~=A5N=AE=D1=A7=C7=A1]=A5H=A7@=AA=CC=
=AC=B0=A8=E4=A6=DB=BC=B6=A4=A7=AE=D1=A9=D2=A7@=AA=BA=AE=D1=A7=C7=AC=B0=A5=
D=A1^=AA=BA=C2k=AF=C7=BE=E3=B2z=A1A=B1q=A6=D3=B5o=B2{=BA~=A5N=A7@=AA=CC=A6=
=DB=B5=DB=AE=D1=A4=A7=AE=D1=A7=C7=A1A=B0=F2=A5=BB=A4W=AC=D2=A4j=ADP=C5=E9=
=B2{=A4F=ACY=A8=C7=A6@=A6P=AA=BA=C5=E9=A8=EE=BBP=AFS=A6=E2=A1A=A8=E4=A4=A4=
=A5]=ACA=A1J=A4@=A1B=B1=D4=ADz=A7@=AA=CC=AEa=A5@=A5=FD=AF=AA=A4=CE=A8=E4=A5=
=CD=A5=AD=A8=C6=C2=DD=A1F=A4G=A1B=C4=C4=ADz=A5=FE=AE=D1=A6=AE=B7N=A9M=B1=D4=
=ADz=B5=DB=A7@=B8=D3=AE=D1=AA=BA=A9v=A6=AE=A1B=B0=CA=BE=F7=A1F=A4T=A1B=B1=
=F8=A8=E4=BDg=A5=D8=A1A=A8=C3=BC=BC=ADz=A6U=BDg=A4=A7=ADn=A6=AE=A1F=A5|=A1=
B=B8m=A9=F3=A5=FE=AE=D1=A4=A7=A5=BD=A1C=B0=A3=B2=C4=A5|=B6=B5=ACO=C4=DD=A9=
=F3=A5~=B3=A1=AA=BA=BDg=C4y=A7=CE=A6=A1=A4=A7=A5~=A1A=A8=E4=A5L=A4T=B6=B5=
=AC=D2=C3=F6=C1p=A8=EC=AE=D1=A7=C7=A5=BB=A8=AD=AA=BA=A4=BA=A6b=A5\=AF=E0=BB=
P=ADn=A8D=A1C=A5=BB=A4=E5=B0=A3=B0Q=BD=D7=B3o=A8=C7=C5=E9=A8=EE=AA=BA=A4=BA=
=B2[=A1B=A9=CA=BD=E8=BBP=A5\=AF=E0=A4=A7=A5~=A1A=A4]=B9=C1=B8=D5=B8=D1=C4=
=C0=BE=C9=ADP=BA~=A5N=AE=D1=A7=C7=A1u=C5=E9=A8=EE=A4=C6=A1v=AA=BA=AD=EC=A6=
]=BBP=B0=CA=A4O=A1C=20
=20
The=20
Structure of Han Dynasty Prefaces
in=20
Light of Ssu-ma Ch=A1=A6ien=A1=A6s=20
Preface to
the=20
Shih Chi
CH'E=20
Hsing-chien=20
The book preface emerged =
as a=20
literary form in the pre-Ch'in period and developed considerably =
in the=20
Han dynasty. In the course of this development, Ssu-ma Ch'ien's =
Preface to=20
the Shih Chi played a pivotal role as heir to the early =
tradition=20
and a paradigm for later writers. The starting point of this paper =
is an=20
analysis of the structure of Ssu-ma Ch'ien's Preface. Through an=20
examination of this and other extant Han dynasty prefaces =
(focusing on=20
prefaces by the authors of the works themselves), this study =
discovers=20
that prefaces by Han dynasty authors all tend to share a certain =
common=20
structure and features. These include: (1) a description of the =
writer's=20
ancestry and major events in his life; (2) a description of the =
main=20
themes of the book and a statement of the aims of the work and =
motivation=20
for writing it; (3) a list of the contents of the work, including =
the main=20
point of each chapter; and (4) placement of the preface at the end =
of the=20
work. Aside from the fourth point, which pertains to external, =
editorial=20
form, the other three points all relate to the function and =
requirements=20
of the preface. In addition to discussing the content, character, =
and=20
function of this common structure, this paper attempts to explain =
the=20
reasons that led to the structural standardization of Han dynasty=20
prefaces.=20
=20
Keywords:=20
Ssu-ma Ch'ien =
Shih Chi =
prefaces author's =
preface=20
=20
=20
=20
=B7=A8=B7O=B4=F2=A4=DF=BE=C7=B7=A7=ADz=20
=C1=E9 =20
=B1m =20
=B6v=20
=B4=A3 =20
=ADn=20
=20
=20
=
=BE=C7=B3N=AC=C9=B9=EF=B7=A8=B7O=B4=F2=AC=E3=A8s=A4j=A6h=B5=DB=B2=B4=A9=F3=
=A8=E4=B9=EF=B3=B0=B6H=A4s=A4=DF=BE=C7=AA=BA=B5o=AEi=A1A=A5=BB=A4=E5=ABh=B1q=B7O=B4=F2=AA=BA=AEa=BE=C7=B2W=B7=BD=A8=D3=BD=D7=AD=
z=A8=E4=B5o=AEi=A1C=B7O=B4=F2=A4=A7=A4=F7=AEx=C5=E3=BB=E1=AD=AB=B5=F8=A4=E9=
=B1`=B9D=BCw=BBP=A7=EF=B9L=AA=BA=B9=EA=BD=EE=A1A=A8=C3=A5=BB=A6=B9=A6=D3=B5=
o=AEi=A5X=B2z=A1B=B5L=A7=DA=A1B=C4=B1=AE=A9=A5=BB=A4=DF=B5=A5=B2z=BE=C7=AB=
=E4=B7Q=A1C=B7O=B4=F2=ABC=A6~=AE=C9=A5N=A8=FC=A8=E4=A4=F7=BCv=C5T=AC=C6=B2=
`=A1A=A6b=B9D=BCw=B9=EA=BD=EE=A4W=A6=B3=A6P=BC=CB=AA=BA=B6=B5=A5=D8=A1A=A6=
P=BC=CB=AA=BA=AD=AB=B5=F8=A1A=A5u=ACO=AC=DB=B8=FB=A9=F3=AEx=C5=E3=AA=BA=A5=
X=A9=F3=A5=CD=AC=A1=A4=CF=AC=D9=A1A=B7O=B4=F2=A7=F3=AD=AB=B5=F8=C5=AA=B8g=
=A1A=B1N=B8g=BE=C7=BBP=B9=EA=BD=EE=AC=DB=B0=D1=C3=D2=A1C=A6b=A4=DF=BE=C7=AB=
=E4=B7Q=A4W=A1A=B7O=B4=F2=AA=BA=AFS=A6=E2=ACO=AD=AB=B5=F8=C4=B1=AE=A9=AA=BA=
=A4u=A4=D2=A1A=A6=B9=A5~=C1=D9=A6=B3=A4=A3=B0_=B7N=A1B=AA=BE=A4=CE=A4=AF=A6=
u=A1B=A6=B3=B5L=B2V=A4@=B5=A5=AD=AB=ADn=AB=E4=B7Q=A1C=B5=A7=AA=CC=B3=CC=AB=
=E1=B1N=B6H=A4s=BBP=B7O=B4=F2=AA=BA=A4=DF=BE=C7=AB=E4=B7Q=B0=B5=A4=F1=B8=FB=
=A1A=AC=DD=A5X=B7O=B4=F2=A4=A3=B6=C8=B5o=AEi=A4F=B6H=A4s=AA=BA=B7=A7=A9=C0=
=A1A=A7=F3=AD=AB=ADn=AA=BA=ACO=A8=AB=A4W=A4F=A4=A3=A6P=AA=BA=A4=E8=A6V=A1=
C=AC=DB=B9=EF=A9=F3=B6H=A4s=AA=BA=B9D=BCw=A4=DF=A1A=B7O=B4=F2=A5D=B1i=A7=CE=
=A4W=A4=DF=A1A=B3o=BA=D8=B0=CF=A7O=A1A=A4@=A4=E8=AD=B1=ACO=AEa=BE=C7=AA=BA=
=B5o=AEi=A1A=A5t=A4@=A4=E8=AD=B1=A4]=A5i=AF=E0=B6=A1=B1=B5=A8=FC=A8=EC=A6=
=F2=B1=D0=AA=BA=B1=D2=B5o=A1C=20
=20
=20
Yang=20
Chien=A1=A6s=20
Conception of the Mind-heart
CHUNG=20
Tsai-chun=20
=
Most=20
studies of Yang Chien have concentrated on how his conception of =
the=20
mind-heart develops that of Lu Chiu-yuan. This article =
investigates the=20
sources of his thought in his family's learning. Yang T'ing-hsien, =
Yang=20
Chien's father, was devoted to the practice of everyday morality =
and=20
correcting errors, and on this basis developed conceptions of =
li=20
(pattern), elimination of the ego, and enlightenment of the =
original=20
mind-heart. Yang T'ing-hsien's influence on Yang Chien is evident =
in that=20
they proposed the same list of virtues and had the same devotion =
to=20
practical morality. However, compared with T'ing-hsien's moral =
knowledge,=20
which grew mainly out of reflection on daily life, Yang Chien =
place more=20
emphasis on studying the classics, treating classical study and =
moral=20
practice as complementary test of moral cultivation. In his =
philosophy of=20
mind-heart, besides emphasizing practical training leading to=20
enlightenment, Yang Chien developed concepts such as =A1=A7not =
arousing=20
intention,=A1=A8 =A1=A7reaching with knowledge while guarding with =
humanity,=A1=A8 and=20
=A1=A7the unity of having and not-having.=A1=A8 The last part of =
this article=20
compares the philosophy of mind-heart of Lu Chiu-yuan with that of =
Yang=20
Chien. Yang Chien not only developed Lu Chiu-yuan's concepts, but =
took=20
them in a new direction. For example, unlike Lu Chiu-yuan's notion =
of the=20
mind-heart as moral agent, Yang Chien explicated the mind-heart =
from a=20
metaphysical point of view. This sort of difference between the =
two=20
thinkers is partly due to the influence of Yang's family learning =
and may=20
partly be derived indirectly from Buddhist thought.=20
=20
Keywords:=20
Neo-Confucianism =20
School of Mind-heart
enlightenment Lu =
Chiu-yuan Yang =
Chien=20
=20
=20
=20
=A1u=B6W=B6V=A1v=BBP=A1u=A4=BA=A6b=B6W=B6V=A1v=A2w=A2w=A6=C8=
=A9v=A4T=BBP=B1d=BCw=A4=A7=B6=A1=20
=BEG =20
=AEa =20
=B4=C9=20
=B4=A3 =20
=ADn=20
=20
=A5H=A1u=B6W=C5=E7=A1v=A8=FA=A5N=A4=A4=A5@=AC=F6=AA=BA=A1u=B6W=B6=
V=A1v=A1A=A4D=ACO=B1d=BCw=AD=F5=BE=C7=AA=BA=B5=DB=B7N=A4=A7=B5=A7=A1A=A5=D1=
=A6=B9=AA=FD=B6=EB=A4F=A5=D1=AA=BE=C3=D1=AA=BD=B1=B5=B3q=A6V=A7=CE=A6=D3=A4=
W=BE=C7=BBP=ABH=A5=F5=AA=BA=B9D=B8=F4=A1F=A6=C8=A9v=A4T=AD=F5=BE=C7=AA=BA=
=A5X=B5o=C2I=A1A=AD=EC=ACO=ADn=B3q=B9L=A7=E1=C2=E0=B1d=BCw=A6=D3=AB=EC=B4=
_=A1u=B6W=B6V=A1v=AA=BA=A5j=B8q=A1A=A6b=AA=D6=A9w=A4H=A6=B3=A1u=B4=BC=AA=BE=
=A1v=A1]=B4=BC=AA=BA=AA=BD=C4=B1=A1B=A6=DB=A5=D1=B5L=AD=AD=A4=DF=A1^=AA=BA=
=ABe=B4=A3=A4U=A1A=AD=AB=B7s=BD=E1=A4=A9=A1u=B6W=B6V=A1v=B7=A7=A9=C0=A5H=AC=
Y=BA=D8=A6s=A6=B3=A1B=B9=EA=A6=B3=A1B=B9=EA=A6b=AA=BA=A4=BA=B2[=A1A=AD=AB=
=AB=D8=B6W=B6V=AA=BA=A6s=A6=B3=BD=D7=A1C=A6=FD=ACO=A1A=BB{=A6P=A9=F3=B1d=BC=
w=A5D=C5=E9=A5D=B8q=AA=BA=B8=F4=A6V=BBP=B9=FD=A9=B3=A8=FA=AE=F8=AF=AB=A1B=
=A4H=A4=A7=B6=A1=AA=BA=AC=C9=AD=AD=AC=DB=B2=CE=A4@=A1A=A4S=A8=CF=B1o=A6=C8=
=A9v=A4T=B9=EF=A9=F3=A1u=B6W=B6V=A1v=B7=A7=A9=C0=AA=BA=B2z=B8=D1=BBP=AD=AD=
=A9w=A4=CE=A8=E4=A5=D1=A6=B9=A9=D2=AEi=B6}=AA=BA=AB=E4=B7Q=A8t=B2=CE=A1A=A6=
=FC=A5G=B7n=C2\=A9=F3=ABe=B1d=BCw=AE=C9=A5N=AA=BA=B6W=B6V=A6s=A6=B3=BD=D7=
=BBP=AB=E1=B1d=BCw=AE=C9=A5N=AA=BA=A4H=A5=BB=A5D=B8q=AD=F5=BE=C7=A4=A7=B6=
=A1=A1C=20
=20
=20
=A1=A7Transcendence=A1=A8=20
and =A1=A7Immanent Transcendence=A1=A8:
Between=20
Mou Tsung-san and Kant
ZHENG=20
Jiadong=20
Kant shifted the meaning =
of=20
=A1=A7transcendence=A1=A8 away from Medieval usage, so that it =
referred only to what=20
goes beyond experience. This shift blocked the path from knowledge =
directly to metaphysics and faith. The=20
starting=20
point of Mou Tsung-san's philosophy was originally to alter=20
Kant's=20
usage=20
so as to recover the old meaning of =A1=A7transcendent.=A1=A8 By =
affirming the=20
premise that human beings have intellectual intuition, Mou =
bestowed the=20
concept of transcendence with implications of existence, being, =
and=20
reality, and in this way attempted to rebuild a transcendental =
ontology.=20
However, the combination of his identification with Kant's =
subjectivist=20
approach and his complete denial of the boundary between the human =
and the=20
divine tends to make Mou's understanding and definition of the =
concept of=20
transcendent and the system of thought he developed from it =
vacillate=20
between pre-Kantian transcendental ontology and post-Kantian =
humanistic=20
philosophy.=20
=20
Keywords:=20
Kant =20
transcendence =20
ontology
=20
=20
=20
=B6=A7=A9=FA=AB=E1=BE=C7=AA=BA=A6=A8=AD=FB=A4=C0=AAR=
=20
=B6=C0 =20
=A4=E5 =20
=BE=F0=20
=B4=A3 =20
=ADn=20
=20
=20
=
=A5=BB=A4=E5=BE=E3=B2z=A4F=B6=A7=A9=FA=AB=E1=BE=C7=AA=BA=AEv=A9=D3=C3=F6=AB=
Y=A8t=B2=CE=AA=ED=A1A=B5o=B2{=A5L=AD=CC=AEv=A9=D3=AA=BA=BA=F4=B5=B8=B6W=B6=
V=A6a=B0=EC=BDd=B3=F2=ABD=B1`=A9=FA=C5=E3=A1A=A5B=A4@=A4H=AEv=A8=C6=A4G=A6=
=EC=A5H=A4W=AA=BA=B1=A1=A7=CE=A4=A3=A4=D6=A1F=A6=D3=A5=D8=ABe=A6=B3=C3=F6=B6=A7=A9=FA=AB=E1=BE=C7=AEv=A9=D3=A8t=B2=CE=
=A4=A7=AC=E3=A8s=A4=E5=C4m=A6=B3=B3=A1=A4=C0=A4=BA=AEe=AB=DD=B0=D3=BAe=A1=
C=A5=BB=A4=E5=A4]=A4=C0=AAR=A4F=B6=A7=A9=FA=AB=E1=BE=C7=AA=BA=A8=AD=A4=C0=
=BBP=AC=EC=C1|=A5\=A6W=A1A=A4=C0=A7O=A7@=A6=A8=B2=CE=ADp=AA=ED=A1A=A4@=A5=
=D8=A4F=B5M=A1C=20
=20
=20
=
=B6=A7=A9=FA=AB=E1=BE=C7=B2v=A6h=A8=E3=B3=C6=AC=EC=C1|=A5\=A6W=AA=BA=BA=D3=
=AB=DB=C0=EF=A4h=A1A=C4m=A8=AD=ACF=AAv=BBP=B1=D0=A8|=A1A=B0=A3=ADP=A4O=A9=
=F3=A9x=BF=EC=B1=D0=A8|=AA=BA=BF=B3=AD=B2=A4=A7=A5~=A1A=A4=D7=A4j=A4O=AEi=
=B6}=AA=C0=B7|=C1=BF=BE=C7=A8=C6=B7~=A1C=A5L=AD=CC=B9=EA=A6b=ACO=A4@=AD=D3=
=C3=F6=ABY=BD=C6=C2=F8=A6=D3=A4S=B5=B2=A6=A8=A4@=C5=E9=AA=BA=B1=D0=A8|=BE=
=C7=AC=A3=A1C=20
=20
=20
An=20
Analysis of the Membership of the
Yang-ming=20
School
HUANG=20
Wen-shu=20
=20
This essay attempts to =
chart=20
tutorship relations among the later followers of Wang Yang-ming. =
It finds=20
that the tutorship network of the Yang-ming School clearly =
extended beyond=20
regional boundaries, and many scholars studied under more than one =
teacher. Furthermore, some research on the tutorship system of the =
Yang-ming School demands critical re-examination. The essay also =
presents=20
statistical charts depicting the status and honors granted to =
scholars of=20
the Yang-ming School under the imperial civil service examination=20
system.
Most scholars in the =
Yang-ming=20
School participated in the civil service examinations and devoted=20
themselves to careers in politics or education. Besides working to =
reform=20
the official education system, these scholars devoted considerable =
effort=20
to developing public education. They formed a highly complex, =
systematic=20
educational movement.=20
=20
Keywords:=20
Yang-ming school =20
tutorship relations status=20
=20
=20
=A4=FD=20
=B6=A7=20
=A9=FA=20
=BBP=20
=A9P=20
=A9=F6=20
=C0=B9 =20
=E6=A3 =20
=BC=FD=20
=B4=A3 =20
=ADn=20
=20
=20
=
=A5=BB=A4=E5=B0Q=BD=D7=A4=FD=B6=A7=A9=FA=C5=AA=A1m=A9=F6=A1n=AA=BA=A4=E8=AA=
k=A1A=A8=C3=B6i=A6=D3=B1=B4=A8s=A4=FD=A4=F3=A6b=AC=B0=BE=C7=A6=A8=BCw=B9L=
=B5{=A4=A4=B9B=A5=CE=A1m=A9P=A9=F6=A1n=BA=EB=B8q=AA=BA=B1=A1=A7=CE=A1C=B5=
=A7=AA=CC=AE=DA=BE=DA=B6=A7=A9=FA=A1q=C5=AA=A9=F6=A1r=B8=D6=A1B=A1q=AA=B1=
=A9=F6=BA=DB=B0O=A1r=A1B=A1q=A4=AD=B8g=C1r=BB=A1=A1r=B5=A5=B8=EA=AE=C6=A1=
A=A6A=B0=D1=A5H=AC=DB=C3=F6=AA=BA=BBy=BF=FD=A4=CE=A4=E5=BF=FD=A1A=A4=C4=B0=
=C7=A5X=B6=A7=A9=FA=C5=AA=A1m=A9=F6=A1n=A5=D1=A1u=A4=A3=B1o=A1v=A6=D3=A1u=
=B1o=A4=A7=A1v=A6=D3=A1u=AA=B1=A4=A7=A1v=AA=BA=A4=DF=B8=F4=BE=FA=B5{=A1F=A8=
=C3=A5H=A1u=BA=EB=B8q=A4J=AF=AB=A5H=ADP=A5=CE=A1v=A1B=A1u=A7Q=A5=CE=A6w=A8=
=AD=A5H=B1R=BCw=A1v=A8=E2=A5y=B8=DC=A8=D3=BC=D0=A5=DC=A5L=AA=BA=C5=AA=A1m=
=A9=F6=A1n=A4=E8=AAk=A1C=B5=A7=AA=CC=AB=FC=A5X=B6=A7=A9=FA=A6b=A1m=A9P=A9=
=F6=A1n=A4=A4=A9=D2=A7=E2=B4=A4=A8=EC=AA=BA=ADn=A6=AE=A1J=A1u=C5=E9=A5=DF=
=A6=D3=A5=CE=A6=E6=A1v=A1A=BBP=A8=E4=BE=C7=BB=A1=AA=BA=AE=D6=A4=DF=AB=E4=B7=
Q――=A1u=C5=E9=A5=CE=A4@=B7=BD=A1v=A1B=A1u=ADP=A8}=AA=BE=A1v=B5=A5=A1=
A=B3=A3=A6=B3=B1K=A4=C1=C3=F6=ABY=A1F=B1q=B6=A7=A9=FA=C5=AA=A1m=A9=F6=A1n=
=AA=BA=A4=E8=AAk=A4=A4=A1A=A4]=A5i=AC=DD=A5X=A8=E4=A9=D2=A5H=AF=E0=A6b=BC=
s=AAx=AA=BA=AA=BE=C3=D1=BB=E2=B0=EC=F9=D8=A8=FA=BA=EB=A5=CE=A7=BB=A1A=A5H=A6=A8=B4N=B2=B1=BCw=A4j=B7~=A1A=AC=
=B0=BE=A7=AEa=A6X=A5~=A4=BA=A4=A7=B9D=A5=DF=A4@=A8=E5=BDd=AA=BA=BDt=A5=D1=
=A9=D2=A6b=A1C=20
=20
=20
Wang=20
Yang-Ming and the Book of Changes=20
TAI=20
Lian-chang=20
=
This=20
article discusses Wang Yang-ming's approach to studying the =
Book of=20
Changes (Chou I or I Ching) in order to explore =
how he=20
employed the Changes in the process of learning and moral=20
cultivation. Drawing on materials such as Wang's poem =
=A1=A7Reading the=20
Changes,=A1=A8 his =A1=A7Memoir of Contemplating the =
Changes=A1=A8 and=20
=A1=A7Probable Explanations of the Five Classics,=A1=A8 and =
related sayings and=20
writings, the article describes the stages of Wang's path in his =
study of=20
the Changes, from incomprehension to comprehension to =
enjoyment.=20
Wang's method of studying the Changes can be expressed in =
the=20
maxims =A1=A7the meaning enters the spirit and thereby is applied =
in practice=A1=A8=20
and =A1=A7safeguarding the body in order to revere virtue.=A1=A8 =
The paper points=20
out that the key principle Wang finds in the Changes =A2w =
=A1=A7the=20
substance being established, the function is thereby put into =
practice=A1=A8 =A2w=20
is intricately related to the core doctrines of his philosophy, =
such as=20
that substance and function have the same source and that moral=20
cultivation lies in the extension of innate moral knowledge =
(chih liang=20
chih). Wang's approach to the Changes also illustrates =
his=20
ability to grasp essential insights and apply them broadly in a =
wide field=20
of knowledge. In so doing, he demonstrates how to carry out the =
project of=20
moral cultivation and establishes a paradigm of the Confucian =
tao=20
(way) of unifying external action and inner =
cultivation.=20
=20
Keywords:=20
Wang Yang-ming =
Chou I I =
Ching Book of =
Change=20
extending=20
innate moral knowledge (chih liang chih) =
=20
=20
=20
=C5U=20
=BEe=20
=AD=E8=20
=BBP=20
=BF=FA=20
=A5=C8=20
=A6P=20
=AAL =20
=BCy =20
=B9=FC=20
=B4=A3 =20
=ADn=20
=20
=20
=
=A5=BB=A4=E5=B1q=BF=FA=A5=C8=A6P=A9M=C5U=BEe=AD=E8=A8=D3=A9=B9=AA=BA=AE=D1=
=ABH=A4=A4=A5h=B1=B4=B0Q=A8=E2=A4H=B9=EF=B6=C7=B2=CE=BE=C7=B3N=B0=DD=C3D=AA=
=BA=AC=DD=AAk=A1C=A6b=BD=D7=A5j=AE=D1=BF=EB=B0=B0=A4=E8=AD=B1=A1A=BF=FA=A5=C8=A6P=BB{=AC=
=B0=BF=EB=A1u=B0=B0=A8=C6=A1v=A4=F1=BF=EB=A1u=B0=B0=AE=D1=A1v=AD=AB=ADn=A1=
A=C4U=C5U=BEe=AD=E8=C0=B3=B1N=A5j=AE=D1=A4=A4=BF=EB=A1u=B0=B0=A8=C6=A1v=AA=
=BA=BDg=B3=B9=BF=E8=AC=B0=A4@=AE=D1=A1A=B3o=AD=D3=B7Q=AAk=B5=B9=C5U=BEe=AD=
=E8=AA=BA=A1u=A5j=A5v=BCh=B2=D6=BB=A1=A1v=A4=A3=A4=D6=C6F=B7P=A1C=A6b=BD=D7=
=A4=BB=B8g=A9=CA=BD=E8=A4=E8=AD=B1=A1A=A5L=AD=CC=ACJ=A4=A3=A9v=A5j=A4=E5=A1=
A=A4]=A4=A3=A9v=A4=B5=A4=E5=A1A=A8=E2=A4H=B3=A3=BB{=AC=B0=A1A=A4=D5=A4l=AC=
J=A5=BC=A7@=A4=BB=B8g=A1A=A4]=A5=BC=A7R=B8g=A1C=A6b=B0Q=BD=D7=A1m=B8=D6=B8=
g=A1n=A9M=A1m=ACK=AC=EE=A1n=AFu=AC=DB=B0=DD=C3D=A4=E8=AD=B1=A1A=BB{=AC=B0=
=A1m=B8=D6=B8g=A1n=A5u=A4=A3=B9L=ACO=B8=D6=BAq=C1`=B6=B0=A1A=AE=DA=A5=BB=A4=
=A3=ACO=B8t=B8g=A1A=C5=AA=A1m=B8=D6=B8g=A1n=C0=B3=B1q=A4=E5=B3=B9=A4W=A5h=
=C5=E9=B7|=A1C=A1m=ACK=AC=EE=A1n=A8=C3=ABD=A4=D5=A4l=A9=D2=A7@=A1A=A1m=A5=
=AA=B6=C7=A1n=ABh=ACO=A1m=B0=EA=BBy=A1n=AA=BA=A4@=B3=A1=A4=C0=A1C=A6b=B0Q=
=BD=D7=A5j=A4=E5=BCh=B2=D6=BB=A1=A4=E8=AD=B1=A1A=C5U=BEe=AD=E8=A5H=B3=F3=A1=
B=B5=CF=A1B=A7B=A6i=A1B=A8=FB=BB=F4=AC=B0=A8=D2=A1A=BB{=AC=B0=A5L=AD=CC=AA=
=BA=A8=C6=C2=DD=A5=BB=A8=D3=B3=A3=AB=DC=A4=D6=A1A=AB=E1=A8=D3=A4~=BAC=BAC=
=AA=FE=A5[=A4W=A5h=A1A=A9=D2=A5H=A5j=A5v=A9=B9=A9=B9=ACO=BCh=BCh=B2=D6=BF=
n=AA=BA=A1A=B3o=B4N=ACO=B5=DB=A6W=AA=BA=A1u=A5j=A5v=BCh=B2=D6=BB=A1=A1v=A1=
C=A5L=AD=CC=B9=EF=ACY=A8=C7=BE=C7=B3N=B0=DD=C3D=AA=BA=C6[=C2I=A8=C3=A4=A3=
=A7=B9=A5=FE=A5=BF=BDT=A1A=A6=FD=A5i=A5H=AC=DD=A5X=B7=ED=AE=C9=BE=C7=B3N=AB=
=E4=B7Q=C5=DC=B0=CA=AA=BA=ADy=B8=F1=A1C=20
=20
=20
Ku=20
Chieh-Kang and Ch=A1=A6ien=20
Hsuan-T=A1=A6ung=20
Lin=20
Ching-chang=20
=
This=20
article examines Ch'ien Hsuan-t'ung's and Ku Chieh-kang's views on =
problems of traditional scholarship as revealed in the =
correspondence=20
between the two scholars. In investigating ancient texts and their =
authenticity, Ch'ien Hsuan-t'ung thought that identifying =
=A1=A7false events=A1=A8=20
was more important than identifying =A1=A7false texts.=A1=A8 He =
encouraged Ku=20
Chieh-kang to collate sections=20
of ancient texts that identify false events and publish them as a=20
book-length study. This idea provided much inspiration for Ku's =
=A1=A7layer=20
accretion=A1=A8 theory of ancient history. In their researches on =
the Six=20
Classics, the two scholars were followers of neither the Old Text =
nor the=20
New Text school. They believed that Confucius neither composed nor =
edited=20
the classics. In their studies of the Shih Ching and the =
Ch'un=20
Ch'iu, they held that the Shih Ching is simply a =
collection of=20
poems and songs, not a classic work of the sages. Thus readers =
should=20
approach the Shih Ching simply by seeking to understand the =
words=20
of the poems, rather than by reading philosophical messages into =
them. Ku=20
and Ch'ien also held that the Ch'un Ch'iu is not the work =
of=20
Confucius, and the Tso Commentary is simply part of the =
Kuo=20
yu. Ku's renowned =A1=A7layer accretion=A1=A8 theory of =
ancient texts grew out=20
of his study of accounts of Yao, Shun, Po Yi, and Shu Ch'i. In =
early=20
sources, Ku contended, these figures were associated with very few =
historical deeds; later texts then gradually embellishd and =
augmented=20
their careers. Ku's hypothesis was that, as these examples show, =
the=20
content of ancient history typically accumulates in a =
layer-by-layer=20
fashion. Ku and Ch'ien's views on certain scholarly issues were =
not=20
completely correct, but they provide fruitful material for tracing =
developments in the scholarly thought of their time.=20
=20
Keywords:=20
Ku Chieh-kang =20
Ch'ien Hsuan-t'ung Chinese =
classics=20
New=20
Text =
Old=20
Text =
Ku Shih=20
Pien
=20
=20
=20
=A1m=A9=F6=B9=CF=A9=FA=BF=EB=A1n=BBP=BE=A7=B9D=A4=A7=BF=EB<=
/SPAN>=20
=BEG =20
=A6N =20
=B6=AF=20
=B4=A3 =20
=ADn=20
=20
=A4Q=A4C=A5@=AC=F6=A4=A4=B8=AD=A1A=A8=FC=A8=EC=A9=FA=A4`=B2M=BF=B3=
=AA=BA=BE_=C0=FA=A1A=BE=A7=AA=CC=A5=FE=AD=B1=C2=C7=A5=D1=A6^=C2k=B6=C7=B2=
=CE=AA=BA=B8g=A8=E5=A1A=B1q=A8=C6=B7s=AA=BA=AC=E3=A8s=A4u=A7@=A1C=A5L=AD=CC=
=AA`=B7N=A8=EC=AD=EC=C4=DD=A9=F3=B9D=B1=D0=AA=BA=AB=E4=B7Q=BE=C7=BB=A1=C1=
=F1=A4J=BE=A7=BE=C7=A1A=A4=D7=A8=E4=B6=B0=A4=A4=A9=F3=A1m=A9=F6=A1n=BE=C7=
=A4=A7=A4=A4=A1A=AF=F7=A8=C6=C5=E9=A4j=A1A=A5=B2=B6=B7=B1N=BE=A7=B9D=A4=A7=
=B6=A1=AA=BA=AC=C9=BDu=B9=BA=A4=C0=B2M=B7=A1=A1C=A5=BB=A4=E5=A9=D2=BA=D9=AA=
=BA=A1u=BE=A7=B9D=A4=A7=BF=EB=A1v=A1A=AB=FC=AA=BA=B4N=ACO=B7=ED=AE=C9=BE=A7=
=AA=CC=AA=BA=B3o=A4@=B6=B5=A4u=A7@=A1C=ADJ=B4=F4=A1m=A9=F6=B9=CF=A9=FA=BF=
=EB=A1n=A4@=AA=BD=B3Q=B5=F8=AC=B0=B7=ED=AE=C9=B3=CC=A8=E3=A5N=AA=ED=A9=CA=
=A1B=B3=CC=AF=E0=BDa=B7=B9=A5=BB=A5=BD=AA=BA=A4@=B3=A1=A1m=A9=F6=A1n=BE=C7=
=B5=DB=A7@=A1C=A5=BB=A4=E5=B0=A3=ABe=A8=A5=A9M=B5=B2=BD=D7=A5~=A1A=A5D=AD=
n=A4=C0=AC=B0=A5|=AD=D3=B3=A1=A4=C0=A1J=20
=
1.=A4=B6=B2=D0=A1m=A9=F6=B9=CF=A9=FA=BF=EB=A1n=AA=BA=BCg=A7@=ADI=B4=
=BA=A1A=A5H=A8=A3=ADJ=B4=F4=A5=CD=A5=AD=A4=CE=A8=E4=B6i=A4J=BE=A7=B9D=A4=A7=
=BF=EB=BD=D7=C5G=AA=BA=BE=FA=B5{=A1F=20
=
2.=A4=C0=AAR=A1m=A9=F6=B9=CF=A9=FA=BF=EB=A1n=AA=BA=BE=E3=C5=E9=BC=B6=
=B5=DB=A4=E8=AAk=A1F=20
=
3.=A4=C0=AAR=A1m=A9=F6=B9=CF=A9=FA=BF=EB=A1n=B9=EF=A1m=A9=F6=A1n=B9=
=CF=B7=BD=ACy=B5o=AEi=A4=A4=AD=AB=ADn=AA=BA=A4T=AD=D3=B0=DD=C3D=A9=D2=A7@=
=AA=BA=A4=C0=A7P=A1F=20
=20
4.=A4=C0=AAR=A1u=BE=A7=B9D=A4=A7=BF=EB=A1v=AA=BA=A4T=AD=D3=BE=FA=B5=
{=A1A=A7Y=A1u=AF}=A1v=A1B=A1u=A5=DF=A1v=A4=CE=A1u=B8=C9=A1v=A1A=A5H=A8=A3=
=A1m=A9=F6=B9=CF=A9=FA=BF=EB=A1n=A4@=AE=D1=A6b=BE=C7=B3N=A5v=A4W=AA=BA=A6=
=EC=B8m=A1C=20
=20
=B5=B2=BD=D7=BB{=AC=B0=A1A=A6b=A1u=BE=A7=B9D=A4=A7=BF=EB=A1v=AA=BA=
=B2=C4=A4@=B6=A5=ACq=A1A=BE=C7=AA=CC=AA=BD=B1=B5=A7=F0=C0=BB=A5_=A7=BA=A5=
H=AD=B0=AA=BA=A1m=A9=F6=A1n=B9=CF=A4=A7=BE=C7=A1A=B5=DB=B7N=A9=F3=A1u=AF}=
=A1v=A6=D3=ABD=A1u=A5=DF=A1v=A1F=ADJ=B4=F4=A1m=A9=F6=B9=CF=A9=FA=BF=EB=A1=
n=BC=D0=BBx=A4F=B2=C4=A4G=AD=D3=B6=A5=ACq=A1A=AC=B0=BE=FA=A5N=A1m=A9=F6=A1=
n=B9=CF=BA=D8=BA=D8=AC=DB=C3=F6=AA=BA=BE=C7=BB=A1=B4M=B3V=A8=E4=A6U=A6=DB=
=AA=BA=B7=BD=ACy=C2k=C4=DD=A1A=A6b=B3o=B0=F2=C2=A6=A4W=A6A=A6=E6=B5=FB=BB=
=F9=A1A=A5=E7=A7Y=AD=AB=A6b=A1u=A5=DF=A1v=A6=D3=ABD=A1u=AF}=A1v=A1C=B2=C4=
=A4@=A1B=B2=C4=A4G=B6=A5=ACq=A9=D2=A5=BC=B8=D1=A8M=AA=BA=C3=F6=A9=F3=A6=B6=
=A4l=A1m=A9=F6=A1n=B9=CF=AB=E4=B7Q=AA=BA=B0=DD=C3D=A1A=BE=FA=B8g=A4=FD=C0=
=B7=D0A=A4=CE=AC=F6=A9=FB=B5=A5=BE=C7=AA=CC=AA=BA=BF=EB=A5=BF=A1A=AD=AB=A6=
b=B8=C9=A5R=A1A=ABh=AC=B0=B2=C4=A4T=B6=A5=ACq=A1C=20
=20
=20
I-t'u=20
ming-pien=20
and the Distinction
between=20
Confucianism and Taoism=20
CHENG=20
Chi-hsiung
=
This paper=20
discusses Hu Wei's I-t'u ming-pien and the movement to =
distinguish=20
Confucianism from Taoism in the mid-17th century. In response to =
the=20
collapse of the Ming dynasty and the Manchurian conquest, Chinese =
scholars=20
devoted themselves to rejuvenating Confucianism to rebuild a new, =
stronger=20
cultural and scholarly environment. Part of their task was to =
purge the=20
ideas and doctrines of Taoism prevalent in the tradition of =
I-t'u=20
study (the study of diagrams used by traditional scholars to =
explain=20
the I Ching and its theory) since the northern Sung =
dynasty. The=20
I-t'u ming-pien was among the most well-known and =
influential works=20
devoted to this aim.
=
This paper=20
consists of four sections. The first describes the historical =
background=20
that led Hu Wei to write his book; the second explores the =
analytical=20
method of the book; the third discusses three main problems in the =
tradition of I-t'u study and Hu's proposed solutions; and =
the=20
fourth analyzes the three main stages of the movement to =
distinguish=20
Confucianism from Taoism in the mid-17th century. =
=20
Keywords:=20
Hu Wei =20
diagram =
figure =20
I Ching
=20
=20
=20
=A1m=A9=F6=B8g=A1n=A1u=A4=C9=AD=B0=A1v=BBP=A1u=A4=CF=B9=EF=A1=
v=A8=E2=BA=D8=A8=F6=C5=DC=B8q=A8=D2=AA=BA=A6=D2=B9=EE=20
=B7=A8 =20
=A6=DB =20
=A5=AD=20
=B4=A3 =20
=ADn=20
=20
=20
=
=A5=BB=A4=E5=A5D=ADn=ACO=A6=D2=B9=EE=A1m=A9=F6=B8g=A1n=A8=E2=AD=D3=A5D=AD=
n=AA=BA=A8=F6=C5=DC=B8q=A8=D2=A2w=A2w=A4=C9=AD=B0=BBP=A4=CF=B9=EF=A1A=A6b=A4=C9=AD=B0=B8q=A8=D2=AA=BA=B3=
=A1=A4=C0=A1A=A5H=B8=B7=C2=BD=A1B=A6=B6=A4l=A1B=A7=F5=A4=A7=A4~=A1B=A7d=BC=
=E1=AC=B0=A5D=A1A=A4=CF=B9=EF=B8q=A8=D2=A5H=AB\=DA|=AC=B0=A5N=AA=ED=A1C=B8=
=B7=C2=BD=A9=D3=C4~=A8=CA=A9=D0=AA=BA=A4K=AEc=A5@=C0=B3=A4=CE=AF=FB=B2n=AA=
=BA=AE=F8=AE=A7=A8=F6=A4=C9=AD=B0=A1A=AB=D8=A5=DF=A5X=A5H=A4=BB=AE=F8=AE=A7=
=A8=F6=A4@=A4=F8=A5D=C5=DC=AA=BA=A4=C9=AD=B0=B8q=A8=D2=A1A=B5M=AD=AD=A8=EE=A6b=A9=F3=A5X=B2{=C5=DC=A8=D2=A1F=A7=F5=A4=A7=A4~=AA=
=BA=A1u=AC=DB=A5=CD=B9=CF=A1v=A6b=A4@=B6=A7=A4@=B3=B1=A4=CE=A4T=B6=A7=A4T=
=B3=B1=A4=A7=A8=F6=A5H=A4@=A4=F8=A5D=C5=DC=A1A=A6b=A4G=B6=A7=A4G=B3=B1=A4=
=A7=A8=F6=ABh=A5H=A4G=A4=F8=A5D=C5=DC=A1A=A8=E4=AD=AD=A8=EE=A6b=A9=F3=A4G=
=B6=A7=A4G=B3=B1=A4=A4=A5X=B2{=A4@=A4=F8=A1B=A4G=A4=F8=A5D=C5=DC=A8=C3=A6=
=E6=A1A=ACG=A5=BC=A6=A8=B3q=A8=D2=A1F=A6=B6=A4l=AA=BA=A8=F6=C5=DC=B9=CF=A4=
S=C2X=A5R=B8=B7=A1B=A7=F5=A4G=A4l=AA=BA=B3W=BC=D2=A1A=B4=A3=A5X=A4Q=AE=F8=
=AE=A7=A8=F6=AA=BA=C5=DC=A4=C6=A1A=A8=CF=A8=F6=C5=DC=B5=B2=AAG=A6h=A5X=A4=
@=AD=BF=A1A=A8=E4=A5=CE=B7N=A6b=A5R=A4=C0=AEi=B2{=A8=F6=C5=DC=AA=BA=A9=D2=
=A6=B3=A5i=AF=E0=A1A=B5L=C3=F6=A5G=B8=D1=B8g=A1F=A4=CF=B9=EF=B8q=A8=D2=A5=
D=ADn=C2=C7=B5=DB=A8=F6=BBP=A8=F6=AA=BA=A4=CF=A8=F6=A1B=B9=EF=A8=F6=C3=F6=
=ABY=B8=D1=C4=C0=A8=F6=C5=DC=A1A=A4=C9=AD=B0=AD=AB=A6b=A4=F8=AA=BA=C5=DC=A4=
=C6=A1A=A4=CF=B9=EF=AD=AB=A6b=A8=F6=C5=E9=C5=DC=A4=C6=A1A=A8=E4=AD=AD=A8=EE=
=A6b=A9=F3=A5=BC=AF=E0=AB=D8=A5=DF=B3q=A8=D2=A1C=A7d=BC=E1=AA=BA=A8=F6=C5=
=DC=BB=A1=B1N=A8=F6=B0=CF=A4=C0=AC=B0=A4Q=AE=F8=AE=A7=A8=F6=BBP=A4=BB=A4l=
=A8=F6=A9=D2=C5=DC=A1A=A8=C3=A8=CC=A8=F6=C5=E9=AA=BA=B3=B1=B6=A7=A1B=A4=BA=
=A5~=B5=B2=BAc=A7@=A9=FA=BDT=B0=CF=A4=C0=A1A=BE=E3=AD=D3=A8=F6=C5=DC=C3=F6=
=ABY=A7e=B2{=B9=EF=BA=D9=A9=CA=B5=B2=BAc=A1A=A8=C3=A6X=A9=F3=A7=B9=BE=E3=A8=
=F6=C5=DC=B2z=BD=D7=AA=BA=A4T=A4j=ADn=A5=F3=A1J=A1]1=A1^=A8=E3=B4=B6=B9M=B2[=BB\=A9=CA=A1A=A4=A3=AEe=B3\=C5=DC=A8=D2=A1F<=
/SPAN>=A1]2=A1^=A8=F6=C5=DC=A8=D3=B7=BD=A5=B2=B6=B7=B3=E6=A4@=A1F=A1]3=A1^=A6L=C3=D2=B8g=B6=C7=A5=B2=B6=B7=AC=DB=A6X=A1C=B0=F2=A9=F3=B3o=A4=
T=C2I=B2z=A5=D1=BB{=A9w=A7d=BC=E1=AA=BA=A8=F6=C5=DC=BB=A1=AC=B0=BA~=C3Q=A6=
=DC=A7=BA=A4=B8=B6=A1=B8=FB=AC=B0=A8}=B5=BD=AA=BA=A8=F6=C5=DC=B2z=BD=D7=A1=
A=AD=C8=B1o=AD=AB=B7s=A5=BF=B5=F8=A1C=20
=20
=20
A=20
Study of Two Hexagram Alternation
Principles:=20
Rise-and-Descent and Opposition=20
YANG=20
Tzu-p'ing=20
This paper discusses the =
two major=20
types of hexagram alternation principles proposed to explain the=20
relationship between hexagrams in the I Ching: =
rise-and-descent and=20
opposition. The major proponents of the rise-and-descent approach =
are Yü=20
Fan, Chu Hsi, Li Chih-ts'ai, and Wu=20
Ch'eng;=20
the major opponent of this approach is Yü Yen. =
As an heir to the=20
eight-hexagram generation-change theory of the Ching Fang =
school=20
and to Hsun Shuang's rise-and-descent theory, Yü Fan proposed =
a=20
six-hexagram rise-and-descent theory based on the alternation of =
one=20
yao line. However, his theory has a serious limitation, in =
that it=20
must admit exceptions to its general principle. Li Chih-ts'ai's=20
Hsiang-sheng Diagram offers two ways of mapping hexagram=20
alternation, by alternation in either one yao line or two =
yao=20
lines, but his theory is unsatisfactory in that it provides no =
single=20
general principle of alternation. Chu Hsi's Kua-pien =
Diagram is=20
broader in scope than either Yü's or Li's theory. It models =
hexagram=20
alternation by ten hexagrams and aims to offer a comprehensive =
account of=20
all possibilities of alternation.
In contrast to the=20
rise-and-descent principle, which explains alternation between =
hexagrams=20
through the alternation of yao lines within the hexagrams, =
the=20
principle of opposition explains hexagram alternation mainly by =
appeal to=20
opposition and correspondence between entire hexagrams. The =
limitation of=20
this approach is that it establishes no general principle for =
hexagram=20
alternation.
Wu Ch'eng's theory =
distinguishes=20
hexagrams into those that alternate according to a pattern of ten=20
rise-and-descent hexagrams and those that alternate according to =
six=20
descendent hexagrams. He categorizes hexagrams clearly on the =
basis of=20
their yin-yang characteristics and internal and external =
structure.=20
This paper proposes three criteria for a satisfactory theory of =
hexagram=20
alternation and concludes that among theories proposed from the =
Han-Wei to=20
the Sung-Yuan eras, Wu Ch'eng's theory best fulfills these=20
criteria.=20
=20
Keywords:=20
I Ching =
raising and descending =
opposition Yü =
Fan=20
Yü=20
Yen Wu=20
Ch'eng
=20