论文部分内容阅读
李渔虽以戏曲、小说名家,但其诗文也自有特色,诚如其《一家言释义》(自序)中所言:“未经绳墨,不中体裁,上不取法于古,中不求肖于今,下不觊传于后。不过自为一家,云所欲云而止。”清代文人中,诗文集流传于后世且迄今分布广泛者,李渔无疑是一个。从康熙间翼圣堂刻本到上海会文堂书局石印本,《笠翁一家言》异本众出,李渔及身编定的《一家言初集》与《二集》的面貌究竟如何?20世纪30年代,孙楷第先生在其《李笠翁与〈十二楼〉》一文中首先予以简略的推测。笔者曾以孙先生的推测为基础,作了进一步的探讨,
Although Li Yu is a dramatist and a famous novelist, his poem also has its own characteristics, just as its interpretation of a word (preface) states: “Without cordage, without genre, However, as a family, the cloud is about to end. ”Among the literati in the Qing Dynasty, poetry anthology spread in later generations and has so far been widely distributed, Li Yu is undoubtedly one. From Kangxi’s wing of the Church of the Sacred Book to the Shanghai Huitang Hall Book of Stone, “Weng Wengyijiandan” different from the public out, Li Yu and the body of the “A Sayings set” and “Second Episode” what exactly? In the 1930s, Mr. Sun Kaidi first made a brief speculation in his article Li Liweng and “Twelfth Floor”. The author once based on the speculation of Mr. Sun, made a further discussion,