從品鑑到借鑑－－葉德輝輯刻「山公啟事」與閱讀

From Personnel Evaluation to Political Appropriation: Cultural Re-Readings in Ye Dehui's Editing of 'Shangong qishi'

本文企圖分析古文獻傳播與輯佚與重編會產生甚麼文化現象？也即是從廣義的閱讀史角度，討論《山公啟事》歷經了不同時代的閱讀詮釋，甚至重新輯佚，增添了大量的註解、佚事等副文本，如何從原本的人才品鑑，逐步發展成雜史、軼事與政治借鑑的過程。據《世說新語》記載，西晉山濤（205－283）對薦舉人才所作的評語本是當時人物品鑑的典範，時稱《山公啟事》。至南宋時已不常見，明、清時的輯佚多不完備或與雜史作品、志人小說等同列。晚清葉德輝任職吏部期間，開始從事《山公啟事》的輯佚，從其跋文與當時批評當時選官和學風的輿論來看，葉氏輯書其實別有一番政治目的。本文即欲指出此一作品如何在閱讀、傳播的流變中成為一個文化典型；同時在輯佚、重編的過程中，增加了個人際遇的真實反應，也即是將《山公啟事》的輯刻，當作一個「記憶場域」（site of memory），允許各式各樣的意義同時並存，包括原作者、編者與葉德輝間交織著歷史、記憶與敘述，彼此間不斷地處於互動（interaction）與互滲（interpenetration）的狀態。葉德輝在新、舊政爭之際刊行《山公啟事》，之所以選擇了山濤其人其事，實欲藉由稽古以反映「今」之所非，並銘刻了一個時代巨變的歷史記憶，從而理解葉德輝一類介於新舊時代間的文人類型，如何在時代的夾縫中生存與奮鬥的歷程。The present paper analyzes what cultural phenomena are produced by the transmission of ancient works, and the editing and compilation of lost works. Adopting the perspective of a history of reading in a broad sense, it discusses Shangong qishi and how through different interpretations in different epochs, even editing anew, and adding a large number of sub-texts such as annotations and anecdotes, its genre shifted from its original function as personnel evaluation to that of miscellaneous history, anecdotes, and even lessons providing political wisdom. Shangong qishi, according to Shishuo xinyu, contains comments made by Shan Tao of the Western Jin Dynasty in recommending competent persons to serve as imperial officials. These comments then become a paradigm of personnel evaluation, called Shangong qishi by Shan's contemporaries. While he was an official in the Ministry of Personnel, Ye Dehui of the late Qing Dynasty started editing Shangong qishi; judging from his epilogue and the public opinion which criticized the selection of officials and the academic atmosphere at the time, he had his own political reasons for doing so. Consequently, the paper demonstrates how this work became a cultural model through its transformation in the process of re-reading and transmission. At the same time, with the editing and compiling, authentic reactions to the author's personal fortune and misfortune were added, which means that the editing of Shangong qishi is 'a site of memory' allowing a variety of meanings to co-exist. It is a site where the original author, the compiler and Ye Dehui interweave history, memory and narration, and where such significations are positioned in an incessant state of interaction and interpenetration. Thus, we can understand the literati's course of existence and struggle in the fissures of time at the interface of an old and a new age which Ye Dehui represented.