《瀟湘錄．楚江漁者》對隱逸課題之表述

本文以柳祥所撰《瀟湘錄．楚江漁者》為研究對象，透過文學傳統、文化系譜及時代語境之考察，逐步釐清其「漁隱」論述。要言之，是文解構姜尚、嚴光所代表儒家「修身見世」之隱逸觀，並繼承楚辭、陶詩中「漁父」、「狂醉」等文學意象，嘗試與作者心中之仕隱情結對話，從而建構出性分自足、天人合一之田園牧歌。而在故事後半復假「以猿為喻」、「精怪返山」之書寫傳統呼應前半之漁隱問答，漁者由人而猿的「再獸化」，以及從「楚江」歸返「南山」之空間移動，皆表達了作者避亂世而隱居的思想傾向。面對晚唐士人「鄉關何處」的焦慮，〈楚江漁者〉嘗試重構其價值依歸，既豐富隱逸文化及神怪小說之內涵，亦是《瀟湘錄》書名意蘊之重要表徵。

關鍵字

瀟湘錄；楚江漁者；隱逸；漁父；精怪

並列摘要

This paper discusses Liu Xiang's ＂The Fisher in River Chu＂ in Xiao Xiang Lu. Through the investigation of literary tradition, cultural genealogy, and context of the times, gradually clarify the interpretation of ＂hermit-fisherman＂. The novel deconstructed the Confucian seclusion value of ＂self-cultivation for benefiting the world＂ represented by Jiang Zi Ya and Yan Guang and inherits the literary images such as ＂the fisherman＂ and ＂intoxicated＂ from Chu ci and Tao Yuan Ming's poetry, in an attempt to dialogue with the author's sentiments of seclusion, thus constructing an idyllic pastoral of self-sufficiency and unity between heaven and man. In the second half of the story, the writing tradition of ＂gibbon as a metaphor＂ and ＂the return of the mountain monsters＂ echoes the question and answer of the ＂hermit-fisherman＂ and the ＂re-animation＂ of the fisherman from a human to the gibbon and the spatial movement from ＂Chu River＂ to ＂Nanshan＂ expresses the author's tendency to avoid the chaotic world and live-in seclusion. The late Tang scholar's anxiety about ＂where to go＂, ＂The Fisherman in the Chu River＂ attempts to reconstruct its values, which enriches the connotation of hermit culture and mystical fiction and serves as an essential symbol of the meaning of the title of Xiao Xiang Lu.