作意幻設－－蔣驥《山帶閣注楚辭》對屈辭「藝術性」的認識

Abstract

Since the Han Dynasty,most researchers had studied Chu Ci from the perspective of Qu Yuan’s personality and his emotions rather than his writing style until the Song Dynasty when Zhu Xi initiated a new approach which focused on the aesthetic values of the work and the literary artistry of Qu’s writing.This new research paradigm became mature in the late Ming and early Qing Dynasties,and brought Chu Ci research to a higher level in theoretical horizon,aesthetic consciousness and criticism approach.The two super-realistic fantasy journeys to heaven in Li Sao reveal that imagination is the soul of poetry.The two fictional journeys in the work break the demarcation line between the factual world and the fictional world and bring them together,which cannot be explained by any realistic narrative model.Remarkably,Jiang Ji has realized the significance of the fictionality of Qu Yuan’s prose poems,besides the high value he put on realism in his Shan Dai Ge Zhu Chu Ci,which is an in-depth exploration of the artistry of Qu Yuan’s works.

《楚辭》研究史中,漢代以至宋代,人們大體從屈原之人格與情志角度更多討論的是屈原其"人"而非其"文"。這一詮釋典范至宋代朱熹始變,及晚明清初而轉型,借由考究屈辭作品本身語言形式之藝術性以詮評其美感及價值。這個走向所呈現之理論視野、審美意識與批評方法,均甚為可觀。《離騷》篇中兩次超寫實的幻想天界巡游便已明白啟示想象是詩的靈魂。兩次虛構的神界飛行,直接打通事實(factual)與虛構的(fictional)畦界,同化為一,這自然不是以任何寫實的敘寫模式所能兼容索解。對此,蔣驥《山帶閣注楚辭》能在崇實斥虛的文學思想外,正視屈辭的"虛構"性質與意義,是對屈辭"藝術性"認識的拓深。