王昭君和親故事與宋詩之創造思維

宋代自王安石作〈明妃曲二首〉，一時詩苑名家如梅堯臣、歐陽脩、司馬光、劉敞、曾鞏等皆有和作。終南宋之世，宋人所作歌詠昭君之同題詩凡153首以上。本文以六朝隋唐近90首昭君詠為對照組，發現同題詩之寫作，往往以創新變異爭勝。擬參考顧頡剛歷史演進方法、曾永義故事之基型展延學說，借鏡伊瑟爾讀者接受論，考察王昭君故事的五個系統，企圖發現詩中的空白、不確定處，探討詩人如何進行想像、填補、發揮、創造，特提其中之超勝意識、遺妍開發，以見其創造性思維。尤其強調「空白與未定性」，以述說北宋、南宋詩歌中王昭君形象之轉化與創新。如王安石〈明妃曲〉之翻案生新，同題競作之另闢谿徑，故事場景之創造性填補，昭君和親心曲之緣飾附會，對於昭君故事之演變，多有開拓創發之功。

關鍵字

〈明妃曲〉；昭君和親；造創思維；轉化創新；宋詩

並列摘要

Since Wang AnShi wrote ”Min Fei Qu”, famous poets in Song Dynasty, like Mei Yaochen, Ouyang Xiu, SiMa Guang, Liu Chang and Zeng Gong, tended to have works to reply to it. As a result, we could find more than 153 poems in Song Dynasty about Wang Zhaojun's story. Comparing with nearly 90 poems written in Six Dynasties to Tang, I found that poems on the same issues usually emphasize on innovation and differentiation. Therefore, I would refer to Ku Chiehkang's theory of processed history, Ceng Yongyi's theory of stories’ extension and variation from their original patterns and Wolfgang Ise's Reception Aesthetics, and inspect five systems found in Wang Zhaojun's stories, then demonstrate how poets make their works out of ordinary. I will use the sense of competition and the development of incomplete aesthetic to show Song poetry's creative thinking, and focus on the void and vague points in poetry to discuss transformation and innovation of Wang's images in Song Dynasty. Consequently, innovation of Wang AnShi's ”Min Fei Qu”, the other thinking in writing competition on the same issues, creative supplement of stories' scene, and detailed portraits of Wang's mental state would all contribute to the development of Wang Zhaojun's stories.