「寫志」還是「體物」？從江淹〈恨賦〉出發對情感賦「主觀情感客觀化」的考察

《文心雕龍．詮賦》中，劉勰以「舖采摛文，體物寫志」定義賦文類。「體物」與「寫志」乃賦文類創作時的最高原則，且兩者不但分別表述，也並存互補。江淹〈恨賦〉、〈別賦〉向來為論者所重，《文選》將兩賦歸入「哀傷」，《歷代賦彙》將〈別賦〉歸入「懷思類」，〈恨賦〉歸入「情感類」。但我們細讀賦文，發現「抒情」似乎不是〈恨〉、〈別〉的宗旨。顯然，江淹藉二賦鋪衍「離別」與「憾恨」典故，一來表現作者「愛奇尚異」的習態，也達成其「炫才」的目標。本文試從「詠物賦」的觀點重新來看江淹的〈恨賦〉、〈別賦〉，以及《歷代賦彙》中的「情感類」諸賦──〈擬恨賦〉、〈笑賦〉、〈夢賦〉等作品。這樣的操作有幾層意義。首先，可以將當屬「詠物」的「情感賦」從原本錯誤的分類中更正過來。其次，嫻熟現象學的研究者如王建元、鄭毓瑜、陳昌明都注意到六朝情境、空間、感官等問題，恨別二賦正好可作為「主觀情感客觀化」的證據。其三，從恨別二賦我們雖然作出「詠物」的推論，但最後仍看穿詠物背後的「言（寫）志」傳統。由此，我們可進一步掌握屬於「賦文類」的文類特性。

關鍵字

江淹；恨賦；別賦；詠物；抒情；情感；寫志；體物

並列摘要

In Lu-Ye's opinion, the Fu's author must to describe their mind and appreciates the objects. Lu-Ye considers there's the dominant element of the Fu genre, and he also considers the writers will describe their mind through appreciating the objects of the nature world. Jiang Yan's ＂Regret Fu＂ and ＂Leave Fu＂ that been define as the ＂describe mind's Fu＂ always been respected by academic in literate history. But in my opinion, I put ＂Regret Fu＂ into the state of ＂appreciates objects' Fu＂, and I will re-discourse the ＂Regret Fu＂ and other work done in the manner of a certain author. There's several purpose what I want to do. First, We could revise the ＂Regret Fu＂ and ＂Leave Fu＂ and other ＂emotion Fu＂ that referred the lyricism for ＂praise object＂. Second, the ＂Regret Fu＂ and ＂Leave Fu＂ could become evidence that the phenomenology and literature in six-dynasty had a lot of relation. Third, reading the ＂Regret Fu＂ and ＂Leave Fu＂, we could still discover the expressing (or describe) mind behind the praising from. By the way, we can kwon well the characteristic of Fu genre.