乾嘉學風下的尊朱視域－－方東樹儒學思想研究

The Research of Fang Tung-Shu's Confucian Thought

方東樹論學以程朱為宗，並以捍衛程朱者自任，被視為是清代漢宋學之爭中反乾嘉漢學之大將。若進一步考察方東樹的著作，不難發現其論爭的對象，除了乾嘉漢學之外，實包括對理學內部議題－即程朱、陸王之爭的闡述。因此，本文嘗試擴大考察方東樹的儒學相關著作，包括對程朱理學的傳衍，對陽明學的排詆，以及對乾嘉學術的迎拒等，呈現方東樹之思想。首先，探究方東樹攻駁乾嘉漢學的內容，董理其主要觀點，尤其對於經典訓詁的態度；其次，論析方氏對於陸王心學抨擊程朱理學之回應，此不但可看出方氏對陸王之學的理解，同時也可衡定其捍衛程朱之學的成效；最後，依前述研究為基礎，勾勒出方東樹完整的儒學思想。此外並指出為了因應時代學風對所宗主程朱理學的極大威脅，方東樹逕從程朱體系中擇取足以與之抗衡的部分－即格物窮理，做為競爭的策略，其呈顯的實已非完整的程朱學派本質，而是方氏在乾嘉學風鼎盛之際所展現的尊朱視域。

Literary works are mostly based on the interaction of dualism between the masculine and feminine components (i.e., toughness and delicacy) that forms a ”multiple, binary and single (zero)” structure. The development of a literary style, therefore, is an interactive process that is closely related to the arrangement of ”multiple”, ”binary” and ”unitary (zero)” structure and its variation such as ”shift”, ”transfer”, ”harmony” and ”contrast”. This article takes example of Xin Jia-xuan’s Lyrics and selects the heroic melancholy as material to quantify the interactive vicissitude between the elements of toughness and delicacy in his lyrics, according to the ”multiple”, ”binary” and ”unitary (zero)” structure and the variation of shift (in compliant/reverse sequence), transfer (incompliance), harmony and contrast in literary works. Therefore it embodies the function of the quantification analysis of the proportions of toughness and delicacy in literary style.