張大復的疾病敘事研究

Abstract

張大復（1554—1630），字元長，晚年自號「病居士」，一云息菴老人，為晚明崑山地區的一介落魄文人。在中國文學史上，一直被學術界所忽視；將近四百年的歲月，他安安靜靜的退居文壇黯淡的角落；如今，研究晚明小品雖早已蔚為風氣，探討張大復的人卻仍屈指可數。\n張大復透過對自身病體的凝視，刺激他返向在內在精神上的追求，對生活所表現的複雜形態也有較清醒的認識，疾病在張大復的筆下，成了「批判庸俗社會的隱喻」。而張大復《筆談》的著書意趣不只在生活之美的單純擁抱，不只在個人病體的輾轉情傷，他的疾病書寫，不啻是採用一種身體性術語，表達了個人和社會的痛苦，形成一種獨特的異端論述。\n其所描繪出之十一種疾病纏身的自我，或是隱喻了其個人生命經驗的檢討，與社會的沉疴的反思；或是將自身的病體與腐敗、黑暗的晚明國體相結合，寫出了對悲劇現實的關切熱情、狂悖憂郁與苦悶憤慨；或是與世對立的抗爭過程中，在屢屢挫折感的衝擊下，逐步喪失對現實社會的熱情，沉耽於特殊癖嗜的成癮病態。在病態與自傲之間，間接的針對現實社會進行了批判與省思。疾病在張大復的小品中，其自身不再只是簡單的生理事件，而是已然負載了沉重的傳統文化意義與價值判斷，也真實的表達了張大復在晚明世變前夕所感受之強烈的精神苦悶與焦灼感。借由對張大復在這個角度的認識，恰恰亦彰顯出晚明士人獨特的理想人生觀與美學觀。\n借由張大復小品文中的疾病敘事，我們看到了張大復隱藏在壓抑、扭曲且孤獨的肉身之病與非病之病中所欲諷喻託寓的多重的指向性，及其自借病體的隱遁而獲致的超脫與成就；更重要的是，透過對張大復的研究，在充斥著：癡、癖、顛、懶、憨、愚、迂、狂、狷、奇……等炫奇百態的士人風姿，及充滿狂言放誕、文風誇飾的晚明文壇，沉潛於社會底層的張大復之狷者身影，或者可以借筆者本篇論作，得以復現。

Zhang Da-Fu, Yuan Chang by name, self titled late in life as Ailing Hermit, or as the Rest Hut Elderly, being a castaway scholar of Kunshan locality in the late Ming Dynasty, had long been disregarded in the history of Chinese Literature .For nearly three hundred years had he hidden in the shady nook of the literary world. Although study of the anthology of late Ming Dynasty has currently become the prevailing hot issue , yet so few have been taken notice of Zhang Da-Fu’s works . \n As a result of contemplating his own ailing body, Zhang Da-Fu was spurred to return to the pursuit of the spirit, and became possessed of a sober awareness of the ostensible complexity of life.\nIn his works ailing had since turned out to be a metaphor of the criticism of the vulgar society. And the aim of his anthology Plum Blossom Cottage Essay is not only to embrace the beauty of life, or to mourn metaphorically, confronting his ailing, but also to complain of the miserable of both oneself and the society by means of a physical enigmatic language ending up to transcend the secular fashion and to get closer to the human nature, revealing the inconspicuous truth of life, while establishing a peculiar and heterodox discourse.\nThe ego of the body haunted with eleven ailments, as he portrayed, has either implied the reflections of both his life experiences and the morbidness of the society; or compared his body of ailing to the state of darkness of the late Ming Dynasty, elaborating the passion for the concern about the tragical reality, his defiant gloominess, and agonizing indignation, or the gradually vanishing passion for the reality at the result of frustration brought about by his fight against the world, ending up with the addicted morbidity of the indulgence in his peculiar mania. \nThe according presentation of morbidity and conceitedness had proceeded the criticism against and reflection on the reality. In his works ailing was no longer a physiological phenomenon, it had already carried the heavy burden of the traditional cultural meaning and value judgment, revealing the harsh mental anguish and anxiety he perceived before the fall of the Ming Dynasty. Through the understanding of Zhang Da-Fu in this direction we can manifest the unusual ideal view of life and aesthetics. \nThrough the narrative of ailing in Zhang Da-Fu’s essays we ‘ve realized his multi-intension of sarcasm and implication through the manifestation of sickness and non-corporeal ailing hidden behind the constrained, distorted, and solitary flesh body, and the detachment and achievement accomplished by means of retirement due to the ailing body. And more importantly through the research of Zhang Da-fu, his figure of self-restrain hidden in the bottom of the society might be revealed, in the literary circles packed with thousands of peculiar scholars’ bearings of infatuation, mania, craziness, indolence, ingenuousness, fatuity, witlessness, passion, deliberation, peculiarity , ext, and preposterous ravings and extravagant atmosphere in the late Ming Dynasty .