《漢書‧古今人表》和《漢書‧藝文志》屬於同一部書籍中的兩個部分，二者之間究竟存在何種關係，向來為學界所忽略。本文考察《漢書‧古今人表》對某些重要歷史人物之定位，所透露出撰者或褒或貶之評價，此種史學觀，實際上與《漢書‧藝文志》較為趨近。雖然《漢書》作者署名為班固，由於《漢書‧藝文志》大體上出乎劉向、劉歆父子之《七略》、《別錄》，此啟迪今人，《漢書‧古今人表》既與《漢書‧藝文志》異曲同工，然則或亦為向、歆父子所擬定。緣乎此種思路，本文就一些特定歷史人物，考辨異同，分析其人位列〈古今人表〉上、中、下之理據，追溯與向、歆之淵源，發現其傾向與向、歆確實有不解之緣。故而，認為《漢書‧古今人表》大致上乃出自向、歆父子之手筆，此種可能性是存在的。今人探索《漢書‧古今人表》仍有較大的思考空間，有待學者繼續開拓。 <eng> The “Tables of Ancient and Contemporary Individuals” and “Monograph on Belles-lettres” comprise two sections of the Hanshu (History of the Former Han Dynasty), but how they are related to each other has remained unheeded in relevant scholarship. The present study examines the author’s placement of certain important historical figures in the “Tables” and his positive or negative evaluation of them. This historiographical approach and practice is in fact quite similar to that of the “Monograph.” Although the Hanshu is attributed to Ban Gu (32–92), the “Monograph” was for the most part derived from Liu Xiang (77–6 B.C.) and his son Liu Xin’s (d. A.D. 23) Seven Synopses and Classified Catalogue. This allows a speculation: given the similarities between the “Tables” and “Monograph,” the former might also have been drafted by the Lius. Following this logic, the present essay is a comparative study of some selected historical figures and analyzes the rationales behind their three-grade classification system (in which each individual is classified as “high,” “middle,” or “low”). The comparison between this appraisement system and that of the Liu father and son shows that they indeed share some intrinsic similarities. Therefore, it is possible to attribute the “Tables” to Liu Xiang and Liu Xin. There is much room for further consideration and reflection on the “Tables” in modern scholarship.
|Number of pages||30|
|Publication status||Published - May 2015|