校勘から生成論へ : 宋代の詩文集注釋、特に蘇黄詩注における眞蹟・石刻の活用をめぐって

Abstract

The practice of producing of commentaries on anthologies of poetry was originally limited to certain canonical anthologies such as the Chuci and Wenxuan. By the Song dynasty, however, commentaries were also being composed for collections of individual poets. In addition to commentaries on the anthologies of poets of earlier times, such as Tao Yuanming, Li Bai, Du Fu, Han Yu, Liu Zongyuan, commentaries were also produced for collections of contemporary poets such as Wang Anshi, Su Shi, and Huang Tingjian. In this study, I focus in particular on the commentaries on the anthologies of Su Shi and Huang Tingjian and consider how holographic texts and stone inscriptions were used. On the basis of considerations of these works in philological and literary terms, I have been able to clarify the following points. Song commentators such as Shi Su 施宿, Ren Yuan 任淵, and Shi Rong 史容 were not content to simply take a single edition from among many editions of an author's original manuscripts (or an equivalent source such as stone inscriptions) and use it as textual evidence for a critical comparisons to discover variant wording. Through examinations of various editions, they attempted to make clear how an author might have repeatedly revised his manuscripts, how he may have settled on a final edition, and the process of establishing this final edition. This literary methodology would today be called a study of the genesis and subsequent development of a literary work (genetique). I believe that in the practice of the commentators on poetry of Su Shi and Huang Tingjian, we can recognize the initial movement in the direction toward literary studies that exceeds the boundaries of traditional philologically based textual criticism and resembles what may be termed genetics of literature.