根據文本生成的不同方式,《史記》可分為司馬遷獨立創作的原生型文本和他根據既有文本編纂而成的衍生型文本。對于后者而言,司馬遷通過各種形式的"鈔撮",將來源駁雜、功能迥異的各類經傳、諸子及譜牒文獻"重寫"為語體風格、敘事體例、價值立場大體一致的有序文本。在鈔撮的過程中,難免在其文本嫁接處、補綴處或截取處稍存疏漏,在不同程度上留下了一些"失控的文本"。這些失控的文本展現了編鈔者試圖構建有序文本的過程及其所遭遇的困境,成為我們進入文本深層結構、了解編鈔者文本編纂意圖和方式的有效途徑,也為我們對這一類型的文本展開文學批評提供了有益的視角。發現并對這些個案進行類型化研究,不僅有助于我們深入了解司馬遷編纂《史記》的過程,也是我們認識這類衍生型文本文學價值的基礎。

On the basis of different modes of text generation,the Records of the Grand Historian(Shiji史記)can be divided into Sima Qian’s original compositions,written independently,and the derivative texts that he compiled and revised on the basis of existing material.In the case of the latter,Sima Qian used various editing strategies to "rewrite"different types of material,including classics and biographies,genealogies,and earlier philosophic works,from a variety of sources and possessing different functions,into an ordered text with a largely consistent language style,narrative form and standpoint.In the course of compilation,he encountered some unavoidable omissions in terms of transplanting,supplementing or excerpting these texts,leaving some "out of control"in varying degrees.These out-of-control texts,which display the process by which the compiler sought to construct an ordered text and the predicaments he faced in doing so,turn out to be an effective way to enter the deep structure of Sima Qian’s work,allowing us to understand both the intentions of the compiler and the strategies he adopted and providing a useful approach for literary criticism of this type of text.Identifying and researching the typology of these cases not only helps us gain an in-depth understanding of the process whereby Sima Qian compiled the Records of the Grand Historian,but also provides a foundation that enables us to recognize the literary value of these derivative texts.