- 學位論文
《資治通鑑》資鑑法戒的敘事藝術
The Art of Narrative of Zizhi Tongjian as Political Vigilance
摘要
司馬光《資治通鑑》敘史一千三百六十二年，編撰於北宋積貧積弱、內憂外患，因變法而黨爭對立的時代中，其內容除了詳於政治、兵戎之事，以供當道者資鑑法戒之外，也蘊涵司馬光重視「中正」與「禮」的政治哲學、安養百姓的政治理念，以及在循環史觀中強調人事作為的思想。司馬光的文學觀念強調實用、反對虛辭藻飾，在「刪削冗長，舉撮機要」的撰史動機與宗旨下，《通鑑》全書行文簡潔、敘事簡要，而且風格如出一手。 司馬光以卓越的史學成就，與司馬遷並稱「史學兩司馬」，《通鑑》亦如《史記》，不僅是史學巨著，也具有文學方面的價值。本論文參酌了當代敘事理論與中國傳統史家敘事的實際情形，以及諾思羅普．弗萊（Northrop Frye）的人物類型，王靖宇（John Ching-yu Wang）關於《左傳》之君臣分類，和司馬光文章、奏議中對於君臣才德之要求、分等，與福斯特（E. M. Forster）「扁形人物」、「圓形人物」的說法，藉以探討《通鑑》在資鑑法戒方面的敘事成就。 在敘事視角上，司馬光善於運用編輯性全知、客觀戲劇式全知，以達成其敘史的褒貶、資鑑之目的，並巧用客觀戲劇式全知、人物視角與選擇性全知，以使敘事生動有趣。在君臣類型與人物形象的塑造上，人君類型有「低模仿」、「諷刺型」、「高模仿」，與「從高模仿下降」的不同；人臣類型除了一如人君，另有「從諷刺型上升」者。在人物的塑造上，因為褒貶法戒之目的，人君多圓形人物，人臣則多扁平人物；其具體形象之塑造，有直接描述者，也有間接者，例如經由言談議論、動作行為、他人評論、表情勾勒和人物對襯，等等。書中比較生動的人物形象，則常見上述方式之綜合運用。 在資鑑法戒的敘事目的下，《通鑑》的故事情節常見對比的模式，提供給人君鑑戒者有：「師心愎諫╱兼聽從諫」，「暴虐無道╱克己安民」，「蔽賢失人╱知人善任」，「刑賞失法╱賞罰嚴明」與「驕傲狂妄╱敬慎謙己」。至於供給人臣法戒者則有：「謀私敗政╱公忠體國」，「變節虧義╱殉忠死節」，以及多行不義必有報應的「奸惡餘殃」。 《通鑑》的敘事時間，整體觀之，略遠詳近，時代越晚，敘事速度越緩慢。司馬光藉由停頓故事時間以議論或描寫，或以場景呈現言談對答，並運用省略與概述調節變化敘事之速度，以彰顯史事中的資鑑重點和意義。此外，在時序方面，善用順敘、追敘、預敘的方法，除了使事件原委與人物事迹得以清楚、完整，也藉以明因果、示勸懲。
並列摘要
Sima Guang’s“Zizhi Tongjian” (Comprehensive Mirror to Aid in Government) has been narrated for one thousand three hundred and sixty-two years. The book was written in North Song Dynasty when the dynasty was weak, the emperor faced risks of internal revolt and foreign invasion, and severe political parties conflicts due to changes to political reform. The contents of “Zizhi Tongjian” besides detailed narrations about the politics and warfare also emphasized on Sima Guang’s political philosophy of “neutralization” and “ritual”, his political idea to care the civilians, and his thinking in stressing on personal accomplishments in the historical view on recurrence. Sima Guang stressed on pragmatic literature and opposed empty words and embellishments. Thus, the wording of the “Zizhi Tongjian” was concise and plain. He was good at editing and rephrasing historical stories to make consistent the language style throughout the whole book. He was also adept in imitate the wording of all the different types of characters. With his outstanding achievement in historiography, Sima Guang and Sima Qian are appraised as “Two Sima Scholars in Historiography”. Just like “Shiji” (the Scribe’s Record), his work, the “Zizhi Tongjian”, is not only a monumental work in historiography but also has its own value in Chinese literature. This assay compared current narrative theories and the actual narrative method of traditional Chinese historiographer, as well as the character types of Northrop Frye and John Ching-yu Wang’s thinking of monarch classification in the book of “Zuo Zhuan”, with Sima Guang’s articles and memorials saying the monarch and his subjects’ virtuous requirements and classification and with E.M. Forster’s statement of “Flat Character” and “Round Character” in order to discuss the narrative achievement of “Zizhi Tongjian” in areas being vigilant and learnt. In the angle of narration, Sima Guang was good at utilizing editing omniscience and objective theatrical omniscience to achieve his purpose in giving recognition, depreciation, and vigilance. He also used well the techniques of objective theatrical omniscience, by character’s perspective, and selective omniscience to make his narration vivid and interesting. In making up monarch and his subjects and characters’ images, monarch had different types of narration including “low imitation”, “irony”, “high imitation”, and “high imitation to low”. In making up monarch’s subjects, besides the types used to narrate the monarch, there was also “increasingly irony” type. In making up the characters, most monarchs were described as “round character” and the subjects were more “flat character” due to different narrative purposes. As for making up the specific images, there were both direct narration and indirect narration. For example, narrations were usually done through conversation and talks, actions and behaviors, comments by other people, illustration on body or facial expressions, and contrast character. The above mentioned narrations were often used in combination to describe more vivid character images. While was with the purpose to narrate vigilance and mirroring for reference, stories giving in the “Zizhi Tongjian” were often in contract mode. Vigilance and mirroring for reference provided to the monarch included “opinionated and stubborn / Compatible and admonition acceptable”, “brutal and immoral / subdue self and observe proprieties”, “concealing person of virtue / right man for right job”, “losing justice on punishment and reward / strict reward and punishment system”, and “proud and pretentious / prudent and self-effacing”. Stories provided to the monarch’s subjects included “seeking personal gain so to ruin the national structure / loyal and faithful to the country”, “turning against his own country and justice / martyred spirits and being able to sacrifice for his country”, and “accumulating evils and later on must suffer and have retribution”. As for the time period of the “Zizhi Tongjian”, generally speaking, the narration was simpler when the time was further; the narration was more detailed and tardy the time was closer. Sima Guang would stop at a time point to discuss or describe, foreshadow scenes to present the conversations, and utilize omissions and summaries to adjust the narrative speed in order to manifest important points and meanings in the stories. Besides, in the aspect of time sequence, he was good at using orderly narration, recollection, and pre-narration to clearly and thoroughly narrate the cause and characters in the stories and meanwhile also explicitly illustrate the cause and effect and the story’s implication for persuasions and punishments.