六朝書籍形制與閱讀方式的交互研究 ——以陶淵明個案為例

Abstract

本文聚焦於陶淵明及其所處的六朝時期，以六朝書籍形制與閱讀方式的互動關係為本位，考察書籍的物質形態如何介入閱讀，而閱讀的需求又如何推動形制演進。植物纖維紙發明於兩漢，而「洛陽紙貴」的故事真實性大有可疑，紙張至六朝初期已逐漸取代簡帛，在此物質基礎上，書籍與資訊日趨膨脹，新興的子史兩部著述遂成為士人推崇的「異書」。 在尚無高足承具、需要雙手持卷的條件下，卷軸裝的形制務必要逐漸鋪展卷軸、線性依序精讀，這一閱讀方式遂催生出將正文與注文合抄以便同時參考的經注合本，卻也造成正文和注釋之間的文本訛混。 龐大的卷帙與不便翻檢的卷軸裝的矛盾，一方面形塑了夜讀和耕讀的勤學傳統，另一方面又推動了閱讀法的革新。眼球的跳讀使得閱讀逐漸開始突破書籍的線性限制，僅求把握大義，而這一閱讀邏輯不僅引發「觀其大略」與「不求甚解」的學術轉型，還衍生出閱讀之際抄撮要點、並按主題或關鍵字分卷類編的知識管理方式，實與超文本閱讀邏輯相通。特別是當這些勤學苦讀、荒廢農事的學習楷模在後世倍受推崇的同時，陶淵明的「不求甚解」卻反映出他以「琴書」為樂而不因讀廢耕的態度，更是獨異於時俗。 基於六朝圖書世界的上述背景，陶淵明〈讀山海經〉組詩結構亦可得到新解，《山海經》的早期著錄和淵明的引用情況表明他所見本與今傳郭璞注本面貌相去不遠，詩中所言「《周王傳》」更有著郭璞注的烙印，而該組詩沿《山海經》的篇卷次序展開，其閱讀方式亦呈現出由循序閱讀原文到關鍵詞式、主題式閱讀的演進，最後變為神話與歷史交匯、一首合詠兩事的複調結構，以組詩的最後一首呼應全書最後一條，都彰顯出書籍形制對閱讀的影響。

From the perspective of the interactive relationship between book formats and reading methods, this thesis focuses on Tao Yuan-Ming (陶淵明, 365-427) and other readers during the Six Dynasties, and examines how the material forms of books make an impact on the reading, and how the needs of reading promote the evolution of forms. Invented in the Han Dynasty, plant fiber paper gradually took place of bamboo strips and silk during the Six Dynasties, while the story of “Luoyang Zhigui” (paper becomes expensive in Luoyang due to a famous work,洛陽紙貴) is of quite doubtful authenticity. Based on this material, the books and information were booming, and especially “zi” (philosophy,子) and “shi” (history,史) writings became the “yishu” (unusual books,異書) respected by scholar-officials. With the high style of furniture not invented and the scroll held in two hands, readers ought to unroll one end to read linearly and sequentially, rolling up the other end in the meantime. Thus, the “jingzhu heben”(composite version with annotations,經注合本) emerged which copied the main texts in a larger font size and the sub-annotations in a smaller font size together for reading simultaneously. However, it also caused textual contamination between them. Therefore, on the one hand, the contradiction between the numerous volumes and the inconvenient scrolls shaped the tradition of diligence, such as burning the midnight oil or reading while farming. On the other hand, it promoted the innovation of reading methods as well. The non-linear skimming enabled readers to get rid of the linear sequence of books and simply grasp the gist. This reading logic not only lead to a new academic style of “observing the overall meaning”(觀其大略) and “not seeking deep understanding”(不求甚解), but also lead to the method of knowledge management by making extracts of books and categorizing into volumes by themes or keywords during reading, which is analogous to hypertext reading. In particular, while the reading models were then advocated who abandoned farming to study hard, Tao’s unique attitude was taking “guqin and books”(琴書) for pleasure and balancing reading and farming instead. According to the background, the suite of poems Reading The Classic of Mountains and Seas (〈讀山海經〉) of Tao Yuan-Ming can be interpreted more effectively. The version Tao read of The Classic of Mountains and Seas (《山海經》) is proved to be similar to the current composite version with Guo Pu’s annotations(郭璞注), and “Zhouwang Zhuan”(周王傳) mentioned in the poem also derives from Guo Pu’s annotations. The progressive poem structure is along the volume sequence of the book, and represents the transformation of reading method from linear sequential reading to keyword and theme reading. Finally, these poems become a polyphony of mythology and history with two events in one poem and the last poem corresponding to the last paragraph of the book. All of them show the influence of book formats on reading.