形式與意義──內閣文庫藏《李卓吾先生批評西遊記》中的神魔情態與身心意趣

Wisdom in Pleasure: How Paratexts Shape the Reading of Journey to the West—A Case Study of the Li Zhuowu Commentary Edition in the Naikaku Bunko

百回本《西遊記》的研究，過去約略可以版本源流及文本詮釋為兩大研究方向。前者辨析版本異同、先後，後者援引儒、釋、道三教義理及當代文學理論，亦各自成說。然而百回本《西遊記》的讀法，由晚明至清初其實經歷較大變化。過去明末刊行的《李卓吾先生批評西遊記》（簡稱「李評本」），由於其評點文字相較於清代各本積極傳道長篇累牘，顯得輕簡，易被忽略。但評點之外，明末李評本製作精美，富含題辭、凡例，以及兩百幅工巧版畫。現藏於日本國立公文書館內閣文庫的李評本（簡稱「內閣李本」），更特別突出小說文本之「幻趣」、人物情態、碎評謔語，在《西遊記》各本中極為特殊。
本文取徑書籍史方法，首先說明何以特別聚焦內閣李本，並考察當中副文本的設計，提出何種閱讀百回本《西遊記》的特殊視角。第二節分析此本插圖的趣味所在，其與宋代以降重要的「降妖」主題圖像—〈搜山圖〉—可能的關聯，以及此本圖像的表現如何與小說內文中「佛魔相生」之理彼此呼應。第三節依循此本「凡例」中所強調，取經人情態與「常言」、「謔語」背後之深意，檢視小說中幾個重要的情節轉折敘事中，取經師徒「體現」的身心動態以及個中內涵，由此整體呈現內閣李本在百回本《西遊記》接受史和閱讀史上的特殊意義。

Past research on the 100-chapter Journey to the West has generally focused on two main areas: the genealogy of different editions and textual interpretation. However, how the paratexts of different editions shape the reading of the novel—through format design, commentary, illustration and editorial framing—remains much less explored. Inspired by the approach of book culture studies, this article focuses on Journey to the West with Commentary by Li Zhuowu (Li Zhuowu xiansheng piping xiyou ji), an edition produced during the Chongzhen reign and now held in the Cabinet Library (Naikaku Bunko) of the National Archives of Japan, showing how this book’s unique material form brings to the fore the novel’s playful spirit, embodied sensibilities and dialectical wisdom.
The first section explains the significance of this particular edition and analyzes its paratextual layout, demonstrating how this luxury edition guides the reader to appreciate the novel’s layered meanings. The second section discusses the distinctive features of this edition’s 200 exquisite illustrations, including the representation of Sun Wukong as a mischievous, childlike monkey, the idiosyncratic postures and facial expressions of the pilgrims, and how these visual compositions shape the reader’s understanding of the narrative. It also explores the illustrations’possible connection to the Searching the Mountains for Demons Painting (Sou shan tu), a pictorial motif which remained popular from the Song to the Ming dynasties. Finally, the third section demonstrates how this edition’s commentaries employ a range of rhetorical strategies—including exclamation, metaphor, jest, and paradox—to highlight the intricate workings of the human mind, emotions and desire, while illuminating the text’s underlying insight into the interdependence of Buddha and demon.