從《左傳》中的夏姬鏡像開展複調式多聲部的文化闡釋

Abstract

《左傳》以史傳經，透過選錄史事，對事件、人物的評議，「記功司過，彰善癉惡」，不僅呈現一種有系統性、因果性、內涵性的史傳敘述，間也寓含某種價值取向，為法為戒，以資垂鑑。作為一部記載人類往事之遺跡的論著，《左傳》對歷史材料的取舍與歷史的趨勢必有其自覺的看法，易言之，即其書寫的背後應有某一種歷史觀點作為依據，然而歷史現象是多元決定的一種現象，并非單一觀點所可涵括，因此即便是在歷史文化的時空座標中，雖有共享相同的思想與行為模式的社會因素，所呈現的種種敘述也非全然是「同聲齊唱」的社會現象。所謂複調式多聲部的文化闡釋，在此及借用巴赫金的理論，說明歷史文化現象是指「許多獨立、清晰而不混雜的聲音與意識的多元性，和價值上完整聲音的真正的多聲部。」意即是在作者敘述觀點背後所呈現的政治、意識形態、歷史與文化衝突的一種現象。由於《左傳》書中有關夏姬美色禍殃之議題，大都是藉由人物群的話語或事件而呈現，并非直接面向的描摹，本論文遂引用美學概念中的「事物幻像」－「鏡像」一詞，以此說明有些事實是通過類比而產生的，就像透過鏡片來觀察事物般，夏姬亦只是《左傳》作者筆下藝術的摹本，是在作者觀念世界中的一個原型。因此本論文當試以《左傳》一書的情節設計、人物描寫，以及作者及以形塑夏姬的文化語境作為基點，經由參酌更多史傳資料之後的辯證，將歷來（包括《左傳》在內）評論夏姬所造成統一模式的價值判斷,推演為多元取向的意義闡釋。

Tzuoo-Chwan, Tzuoo Chiu-ming`s Chronicles, is composed of detailed accounts and comments on historical people and events with judgmental points of view which clearly discern good from evil with merits and demerits systematically and comprehensively. Tzuoo Chiu-ming made it clear in his chronicles that his viewpoints were based on facts and trends. In a nutshell, what he presented and rendered in "Tzuoo-Chwan" is not exactly the social phenomena in unison although he grounded his arguments on the same templates in which people conducted themselves back then. The cultural rendition of polyphonic heteroglossia is what I try tentatively to explain how historical and cultural phenomena presented themselves. By using Bakhtin`s theory, I tend to show that cultural phenomena refer to independently clear voices which could be deemed as the valuable authentic heteroglossia in chorus with a multitude of ideologies. In my opinion, Tzuoo Chiu-ming`s accounts and comments presented a phenomenon which showed the conflicts of politics, ideology, history and culture. He described Xia-Ji, a drop-dead gorgeous woman who brought a lot of trouble simply because of her beauty, by means of people`s gossip on the grapevine in stead of gathering the information straight from the horse`s mouth. Using the aesthetic term "image", I would like to explain that some "facts" are fabricated by analogy. As we look at ourselves or others in the mirror, Tzuoo Chiu-ming made Xia-Ji an artistic archetype, an image in his world of concepts. I will, therefore, use his plots, descriptions of characters, contexts concerning Xia-Ji in "Tzuoo-Chwan" to transform her stereotype and some uniform judgments set by previous commentators into my personal paraphrases of multi-aspects.