論劉元卿《寓言》之編撰成分、序列及其文體認知

Research about Composition, Sequences and Stylistic Cognition of Liu Yuanqing's ''Fables''

在中國寓言的發展脈絡中，《賢奕編》向來被視作劉元卿的重要寓言成就，然其詩文集中的《寓言》30則卻鮮少受到關注，故冀能通過對《寓言》的探究，進一步確立劉元卿的寓言成就。本文聚焦《寓言》之編撰成分、編撰序列、編撰目的及其文體認知三方面，因以釐清內容旨趣、形式技巧之外的《寓言》屬性。《賢奕編》、《寓言》是理解劉元卿與寓言之關係的重要文本，同時，帶予劉元卿學術思想深切影響的耿定向，亦曾編撰寓言集《權子雜俎》，將三者相互參照後發現存有承啟之關係，遂成為抉發《寓言》屬性的切入點。《寓言》之編撰成分是創作，與纂輯而成的《賢奕編》不同，再者，無意義之《寓言》序列，卻意旨集中，則顯現劉元卿鮮明的實用意向，亦即強調能藉「罕譬語」令讀者「有所觸動」於內的編撰目的及其文體認知。

In the development of Chinese fables, ''Xian Yi Bian'' has been regarded as an important fable achievement of Liu Yuanqing(1544-1609). However, 30 articles of ''Fables'' in his corpus is rarely valued. Therefore, through the exploration of ''Fables'', Liu Yuanqing's allegorical achievements can be further established. This article focuses on the composing elements, compilation sequence, compilation purpose and stylistic cognition of ''Fables'', in order to clarify the attributes of ''Fables'' in addition to content interest and formal skills. ''Xian Yi Bian'' and ''Fables'' are important texts for understanding the relationship between Liu Yuanqing and the fable. At the same time, Geng Dingxiang affects the deep orientation of Liu Yuanqing's academic thoughts. Geng Dingxiang has also compiled a collection of fables, ''Quan Zi Za Zu''. Compares the three books, it can be found that there is a relationship between the pre-existing and the post-opening. So it becomes the entry point for exploring the attributes of ''Fables''. The composition of ''Fables'' is creation, which is different from the edited ''Xian Yi Bian''. Secondly, the meaningless ''Fables'' sequence, but the intentional concentration, shows Liu Yuanqing's clear practical intention. This is what he emphasizes can be used by metaphors to enable readers to truly touch the inner, and its stylistic cognition of fable.