袁中道於萬曆四十四年（1616）接受郝公琰之邀約，為曹臣《舌華錄》進行評點，提出個人對作者之意的體會、以及對文本的詮解，同時也為曹臣《舌華錄》的出版增值。本文以曹臣（1583-1647）《舌華錄》為研究對象，探求袁中道與曹臣《舌華錄》的審美交往，與歷來諸多評點家對世說體審美規範的認同與差異。論述的途徑依哈伯馬斯（jurgen.Habermas）話語的雙重結構分二途進行：其一是陳述性的話語，在語義分析層面上，就袁中道的批點話語所具有的資訊、內容加以表述與傳達，呈示文本與批點話語的現存狀態，亦傳達言說者主體真誠性的意向表達。其二是以言行事的話語，此一層面話語是從話語的合語法性向他者能理解性的轉換。研究發現：袁中道批點話語以「妙」為起效的節點，實現話語交往，達成共識、導向認同的目標，對曹臣《舌華錄》的審美規範進行補充和修正，標舉「妙在含蓄」為世說體語言普遍有效性的審美規範和共識。 In the 44th Year of Wanli reign (1616), Yuan Zhongdao accepted the invitation of Hao Gongyan to comment on Cao Chen’s She Hua Lu, proposing his own perception of the author and the personal interpretation of the text, as well as adding extra value of the publication of Cao Chen’s She Hua Lu. This article, taking She Hua Lu written by Cao Chen (1583-1647) as the research topic , explores the aesthetic communication between Yuan Zhongdao and Cao Chen’s She Hua Lu and the identities and differences of the aesthetic norms of so many commentators on Shishuo styles in the past as well. Basing on the dual structure of the Jurgen Habermas’s discourse, the approach discussed in this research is conducted in two ways: One is the declarative discourse, expressing and conveying the information and contents of Yuan Zhongdao’s discourse on Marginalia on the aspect of semantic analysis to present the true nature of the text and the discourse, and as well as the expression of the speaker’s intention to convey the sincerity of the subject matter itself. The other is the discourse of words conducted with deeds in nature, which is the transformation in this aspect from the syntactic nature of the discourse to the comprehensible nature of others. This study finds that Yuan Zhongdao’s discourse, taking ＂Miao＂ as the crux of the issue, achieves the goal of the realization of the discourse communication, reaches the common consensus and leads to the identification orientation to make supplements and revisions on the aesthetic norms of Cao Chen’s She Hua Lu, and to manifest ＂Miao Zai Han Xu＂ as the universal standards of the aesthetic norms and consensus of the Shishuo styles from then on.
