仁井田好古的《詩經》觀及其對朱熹之批評

Kōko Niida's Views of the Book of Odes and His Criticism of Zhu Xi

本文以江戶晚期碩儒仁井田好古所著《毛詩補傳》為主，以《論語古傳》及《樂古堂文集》等著作為輔，整理、探討其主要《詩經》觀，並溯及仁齋、徂徠、東涯等古學派學者之相關看法，說明其間之差異及對朱熹的批評。經本文研究的結果，好古有：《詩》一經通體的纂定目的，在於推廣文王之敬德以行仁政；《詩》有說人情、道性情的本質；《詩》之教學重在知人情；學《詩》有修己以成溫柔敦厚，治人以行仁政之效果；《詩序》有微言大義，不可廢；聲與詩不同，鄭聲淫不代表鄭詩亦淫等等的《詩經》觀。好古對朱熹《詩集傳》的主要批評，在於朱熹不知《詩》之本質在道人情，《詩》以知人情為教。倡言以「勸善懲惡」為《詩》教；朱熹不信《詩序》古義，倡言廢《序》；朱熹不知聲與詩有別，認定鄭詩亦淫。好古對古學派既有所繼承，如人情說、《詩序》說、鄭聲非鄭詩說；又有創新，如《詩》之一經通體說，《詩》之編纂者與編纂的時間，《詩》有定義說、比興說、效果說等等。

This paper primarily focuses on the Confucian scholar Kōko Niida from the Edo period and his work Mōshi hoden, while also addressing his other works, including Rongo koden and Rakkodo bunshū.. It collates, then explores his main views of the Book of Odes, tracing his ideas back to those of Jinsai, Ogyū, and Togai in the Kogaku School. It also discusses the similarities and differences among them, as well as their criticisms of Zhu Xi. Some findings of Niida's views outlined in this paper include: his belief that the Book of Odes has a unified theme in its compilation, which was to promote King Wen's respect of virtue and policy of benevolence; the essence of the Book of Odes is in describing human feelings and temperaments; the main thrust in teaching the Book of Odes should be in understanding human feelings; studying the Book of Odes can have two effects: self-cultivation in order to become a gentle and sincere person, and ruling with a policy of benevolence; the preface to the Book of Odes has profound meaning couched in subtle words and thus should not be discarded; music and poetry are different, thus the fact that Zheng music is lewd doesn't mean that its poetry is also lewd. Niida's criticism of Zhu Xi's Shijizhuan is primarily focused on the fact that Zhu Xi didn't understand that the essence of the Book of Odes is in expressing human sentiment; teaching its contents should be focused on this and not on ＂encouraging goodness and reprimanding evil.＂ Zhu Xi did not give credence to the ancient meaning of the preface to the Book of Odes, but advocated that it should be removed; he also did not understand the difference between music and poetry, thus he mistakenly believed that poems from the kingdom of Zheng were lewd. From this it is clear that Niida adopted many concepts from the Kogaku School, such as the interpretation of human sentiment, the use of the preface to the Book of Odes, the idea that Zheng music is different than Zheng poetry, etc. He also made new creative contributions, such as the view that the Book of Odes has a unified theme, the assumption of identity of its compilers and time of compilation, the idea that it has a specific meaning, and the rhetorical use of imagery with a certain effect.