東坡一生所填的六闋〈滿庭芳〉詞,其創作時間,主要集中於黃州時期及離黃後不久的時間段內,書寫內容上,亦有相互呼應與關聯處。東坡自從在黃州率先運用〈滿庭芳〉的詞牌,展開對人生的定位與思考後,元豐五年到元豐八年間,每年都至少會有一首〈滿庭芳〉詞作誕生,這樣時間連續且間隔固定的創作,也可以讓我們看到東坡自我蛻變的歷程。裡面有他的掙扎,有他的調適,有他的自我思考,也有他的自我超越。東坡雖然屢屢在詞作中言及衰老,內容似乎與詞牌字面的意義背道而馳,迥異於「緣題生詠」的傳統,然而作品中所流露出的超曠精神,卻又從而回應,甚至是更加彰顯了「滿庭芳」所代表的積極與繁華意涵。本文將從歷時性的觀點,以時期為樞紐,透過東坡敏銳的「時空意識」,來深入探討東坡貶謫黃州前後,所表現出的「思考轉向」,以此明白〈滿庭芳〉對於東坡而言,是別具個人特殊意義的重要詞牌。
The six ci works by Su Shi in the Mantingfang cipai were all penned during his banishment to Huangzhou or immediately after he left Huangzhou, and the contents of these works correspond to his mindset during this period. Su first began using Mantingfang to express his thoughts on his circumstances, doing so at least once a year between 1082 and 1085. The resultant works, which were created at a continual, fixed interval, vividly capture the transformation of his inner self, including the struggle, adaptation, self-reflection, and self-transcendence he experienced. Although his constant lamentation of growing old in these works deviates from the tradition of creating a ci befitting the cipai (because it contradicts the meaning of Mantingfang, which roughly translates as "a garden in full blossom"), the broad-mindedness and positive outlook expressed in these works are somehow consistent with the proactiveness and liveliness Mantingfang represents, and in fact enrich these qualities. Taking a diachronic perspective, this study examines Su's spatiotemporal perception during this period of his life, in order to explore how his thinking changed during his banishment to Huangzhou. This approach yields strong evidence that Mantingfang was a cipai of special importance to Su Shi.