論吳偉業的遺民製作──《臨春閣》與《秣陵春》劇作中的「物」、「才女」與「離魂」

The Making of Wu Weiye’s Loyalist’s Identity：Material Objects, Talented Ladies and Departure of Soul in Linchun Hall and Moling Spring

楊中薇(Chung-Wei Yang)

指導教授 ： 鄭毓瑜

國立臺灣大學/文學院/中國文學研究所/碩士(2014年)

https://doi.org/10.6342/NTU.2014.00872

摘要

晚明才女、物和情文化等流行文化現象的影響力，在吳偉業的《臨春閣》與《秣陵春》中人物形象、情節模式乃至細節鋪陳上，歷歷可見。它們成為一種可供援用的資源體系，因為這些文化現象不單是作者的親身體驗，同時也是當時讀者所熟悉的生活經驗。吳偉業操作這個體系，便彷彿拉起了一個大家所共同理解的網絡，向讀者傳達出自己在明清之際的個人身分認同。而他在操作過程中如何挪用調動和轉化這些文化現象的特點，讓讀者婉轉地理解他的目的？

《臨春閣》中，才女雖可堪憐愛，但她們卓越的才華不能完全視為晚明文人肯定才女文化影響下，對性別偏見的突破。她們的才能被置放在危機重重的政治環境中，只是一個未能實現的理想。物的賞鑑在《秣陵春》中也不再只是文人的娛樂消遣或審美生活的一部分，交換流通的過程中，引出的更多是如何保留遺民身分的焦慮感。而在離魂傳統上，兩個劇本雖然皆承襲了這個敘事模式，對背後一往情深的態度卻始終帶有一絲猶疑甚至拒斥。此外，吳偉業將離魂女性魂魄的柔弱性作為遺民徬徨心境、以及文化傳續困難度的隱喻，為晚明離魂傳統增添了變異性。這些都很可能是世變的政治衝擊，在吳偉業的文學想像中所發揮的作用。

因此，本論文從文化闡釋的研究視角出發，正是試圖補充目前吳偉業戲曲研究中，僅著重於文本本身的人物情節和語言修辭的封閉現象。期待這個視角不僅讓我們更能深入認識吳偉業調適自己立場以面對亡國創傷的複雜心迹，亦可觀察出兩個劇本如何體現在明清的時代轉折中，新舊文化與精神彼此牽連又有所轉化的明顯特質。

關鍵字

物 ； 才女 ； 離魂 ； 文人文化 ； 遺民意識

並列摘要

The influence of the popular cultural phenomena in late Ming dynasty, such as the culture of talented women, of material objects and the cult of qing, has been clearly visible in the character figures, plots and detailed narrations of Wu Weiye’s dramas Moling Spring and Linchun Hall. These cultural phenomena were not only witnessed and experienced by the author but also part of life familiar for the readers of the time. In the works of Wu Weiye, they became therefore a mobilizable system of resources, by which Wu conveyed his loyal identity at the Ming-Qing transition in composing a meaningful network commonly comprehensible for his contemporary readers. And during this process, a further question is that: How did he mobilize and transform the features of these late Ming cultural phenomena to enable tactfully his readers to understand his purpose?

First, in Linchun Hall, although the women of talent were adorable, their outstanding talents could not be viewed only as a breakthrough in gender bias under the influence of the recognized talented women culture in late Ming. Rather, their talents placed in a political environment full of crisis represented the ideals unable to be realized. Second, in Moling Spring, the material object appreciation was not only part of the literati’s leisure or aesthetic life, but also invoked Wu Weiye’s anxiety on how to keep the loyalist identity through object exchange and circulation. Third, both plays adopted the narrative model of the departure of the soul, but still maintained a slight hesitation or even rejection in regard to the authenticity of qing connoted in this model. Furthermore, the fragility of female ghosts departing from the bodies was used as a metaphor for the uncertain feelings as a loyalist and the difficulty of cultural inheritance, which increased more variety in the literary tradition of the departure of the soul in late Ming. Such observations may reveal the political impacts of the dynastic transition on Wu Weiye’s literary imaginations.

To conclude, written from the perspective of cultural interpretations, this thesis attempts to supplement the current research on Wu Weiye’s dramas, exclusively focusing on characters, plots and rhetoric. This new perspective helps us to better capture the dynamic process of Wu Weiye’s political identity transformation during the dynastic transition and, meanwhile, to discern how both dramas reflect the distinctive features of the relationship between the old and new culture and spirit, not only closely tied but constantly changing, during the Ming-Qing transition.

並列關鍵字

material objects ； talented ladies ； departure of soul ； literati’s cultural phenomena ； loyalists’ mentality

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