自覺與新變—「戲」說蘇軾聯章回文詞〈菩薩蠻〉之創新風格

詞以婉約為正宗，至蘇軾變而為豪放詞派代表。蘇軾豪放詞風，源於自覺與新變，有意打破「詞為豔科」之藩籬，卻招致後人評其「短於情」。然則事實是否如此？蘇軾不但深於情，且於婉約小詞仍有所創新突破。歷來探討蘇軾聯章詞，多關注於〈漁父〉與〈浣溪紗〉之詞組，至於研究蘇軾回文詞者，則將此歸入雜體，並以為戲作，唯對蘇軾〈菩薩蠻〉聯章回文詞未見專論者。由於王國維嘗論及文學是天才（蘇軾）的游戲事業，故本文輔以「游戲說」理論予以觀察，探討如下問題：〈菩薩蠻〉聯章回文詞四首，如何在婉約詞緣情、側豔之傳統風格和回文形式技巧的制約中，展現別出心裁的藝術才情？如何體現溫婉而不媚，將緣情、言志予以有機結合？又蘇軾婉約語言之新變風格，是否有其人文地理因素？如何觀照蘇軾審美游戲下之文學語言內涵？

關鍵字

〈菩薩蠻〉；創新；游戲；聯章回文詞；蘇軾

並列摘要

Poems are mainly considered gentle and graceful, whereas Su Shi represents bold and unconstrained poetry. Su Shi's dauntless and unbounded style derives from his consciousness and innovation. He transcended the traditional assumption that poems were about gentle feelings. Consequently, his poems were criticized for a lack of affection. For years the exploration of Su Shi's poems has focused on Yufu and Wanxisha. The study of the phrases and texts of Su Shi's poems was categorized as a miscellaneous collection and referred to as game-playing. However, the poems in Su Shi's ”Pusaman” have not yet been explored in the literature. Based on Wang Guowei, the genius Su Shi had a distinguished game-playing career in literature. Concerning the four poems in Su Shi's ”Pusaman,” which are supplemented with game playing theory, this paper addresses the following questions: 1. How did Su Shi express his outstanding artistic affection between the traditional style of gentle feelings and the conditioned text techniques? 2. How did Su Shi describe his gentle feelings and organically integrate his affection with his aspiration? 3. Did any cultural and geographical factors contribute to Su Shi's newly changed graceful language style? And 4. how can the linguistic connotations attached to Su Shi's aesthetic game be interpreted?