唐李華文集流傳考

Research on the Dissemination of Li Hua’s Anthology

本文謹以獨孤及〈中集序〉兩類文本間的異同為切入點，考訂李華文集結集的具體過程。結論認為，李華文集在其生前身後經過兩次整理，最終呈現為《前》、《中》、《後》三集的形態。本文其次利用《文苑英華》，特別是其校記提供的資訊，判明了李華文集在宋代的流傳刊刻情況。結論認為，唐代整理而成的三集直至南宋時期仍在江南地區流傳，最終以刊本形式固定下來。本文最後通過簡單的文本比勘，探討了《四庫全書》本、《全唐文》本李華文集的底本來源。結論認為，根據諸宋代總集，特別是影宋鈔本《文苑英華》重加採錄的《全唐文》本，乃是傳世的李華文集諸本中品質較佳的一種。根據李華文集的流傳情況可知，李華文集在其辭世前後便得到了較為精心的整理，直至南宋年間，仍然以完整的形態流傳於世。李華在後世之評價，之所以略遜色於其本人在當年之地位，並非由於作品之存亡多寡，而在於其原本便處於承上啟下的文學史地位所導致的。

This study takes the similarities and differences between two textual versions of Du Guji’s Zhong Ji Xu as a starting point to examine the process of compiling Li Hua’s collected works. The findings suggest that Li Hua’s collected works underwent two stages of organization, both during his lifetime and posthumously, ultimately forming the structure of Former Collection, Middle Collection, and Later Collection. Furthermore, this paper uses information provided by Wenyuan Yinghua, particularly its critical apparatus, to elucidate the circulation and publication of Li Hua’s collected works during the Song dynasty. It concludes that the three collections, which were compiled during the Tang dynasty, continued to circulate in the Jiangnan region until the Southern Song dynasty, where it was ultimately crystallized in print. Finally, through a simple textual comparison, this paper investigates the source texts of the Siku Quanshu and Quantangwen editions of Li Hua’s collected works. The study concludes that the Quantangwen edition, meticulously recompiled from Song anthologies-- particularly facsimile manuscripts of Wenyuan Yinghua-- ranks among the most authoritative and refined extant versions of Li Hua’s works. The transmission history elucidates the scrupulous curation of Li Hua’s works both ante- and post-mortem, preserving their integrity through the Southern Song. His marginally attenuated posthumous reputation, relative to his erstwhile status, derives less from textual vicissitude than from his liminal position in the continuum of literary evolution.