鬆動的秩序：李漁小說的倫理敘事

本文將檢視李漁小說《無聲戲》、《無聲戲二集》與《十二樓》中，如何呈現三綱（君臣、父子、夫婦）的人倫關係。「三綱五常」是中國人倫的基本框架，也是明清之際話本小說所關心的主題。本文所好奇的是，經過明清之際的朝代更替與家庭離亂後，小說中的君臣、父子、夫妻之間的關係是否依然如常？或是在經歷過戰亂與鼎革之後，倫常秩序會有所鬆動或調整？新時代的秩序該如何形成？本文將藉由分析李漁的小說《無聲戲》、《無聲戲二集》與《十二樓》，來回答這些問題。在方法上，為了理解李漁描繪人倫關係的方式的特殊性何在，將參照閱讀稍早時代或同時代的話本小說集，包括晚明的三言、二拍，以及明清之際的《清夜鐘》、《西湖二集》等。本文將討論這些小說間相似的「敘事模式」，包括君王贈臣下美人的「重情輕賢」模式、父子團圓與家產繼承故事，以及「以婢為妻」的那些私通婢女或娶婢女的故事。在李漁的小說與晚明、明清之際的話本小說集中，都可以見到這一類的故事。這些故事遵循著已有的敘事傳統，或者延續它，或者改造它。而從這延續或者改造的路徑中，可以看出李漁是在何種基礎上，在小說中進行倫理秩序的調整。

關鍵字

明清之際；李漁；話本小說；三綱；無聲戲；十二樓

並列摘要

This article will examine how Li Yu's vernacular stories "Silent Opera", "Silent Opera II" (無聲戲一、二集), and "Twelve Towers"(十二樓) show the relationship between ruler and subject, father and son, husband and wife. The morality between three relationship is called “Three Principles of Social Order”(三綱), which is regarded as the basic constitution of Chinese society. In transitional Period of Ming and Qing Dynasty, Ethic theme included “Three Principles of Social Order” is important in the short vernacular stories. After the traumatic Ming-Qing dynastic transition, is the depict of relationship between the ruler and subject, the father and the son, and the husband and wife still the same? Or it is changing in some way? This article will answer these questions by analyzing Li Yu's vernacular stories. In order to understand the particularity of Li Yu's way of depicting the relationship between human relations, I will read the stories of the earlier or contemporaneous period, including the “San Yen”(三言)and “Er Pai”(二拍) of the late Ming Dynasty, and the stories of the Ming-Qing transitional period including “Bell in the Sill Night”(清夜鐘), “West Lake story second collection”(西湖二集) and so on. This article will discuss similar "narrative modes" between Li Yu’s stories and these stories. The narrative modes I discussed is including the “Ruler give beauty to his subject”, “Father and Son’s reunion”, “Son’s Filial Quest”, “Maids become a Wife”. These kinds of narrative mode can be seen in Li Yu's stories and the collection of stories in the late Ming and Ming-Qing transition period. These stories follow the existing narrative tradition, or continue it, or transform it. From the path of continuation or transformation, we can see how Li Yu changed the ethical order in the stories.