臨場展演與書寫技藝：社交視域下的夢窗詞

Immediate performance and Writing artistry： Mengchuang ci under Perspective of socializing

佘筠珺(Yun-Jun She)

指導教授 ： 劉少雄

國立臺灣大學/文學院/中國文學研究所/博士(2015年)

https://doi.org/10.6342/NTU.2015.00941

摘要

文學體製的形成是構成文學典律的形式要素，回歸到文體生成的社會文化脈絡，則能從多種層面來探究文體的表現力。詞體的生成場域，既有歌舞酒席的應歌之作，亦存在各種類型的社交情境，本文以夢窗詞作為分析南宋中晚期社交詞的主要對象，討論江湖詞客以詞投獻、以詞會友的社會現象，由此論述夢窗詞對於傳統詞風的繼承與創新。論文從三個方向來談：
第一、關於江湖詞客名聲流播的模式。吳文英身為江湖詞人的身世背景，需要遊謁四方，填詞是一種特出的「技藝」，從個人的交遊圈為起點，逐漸在公卿間揚名，乃至於詞壇的選本評論也關注到其作品。例如，吳文英無論是和權貴、詞友大量的酬贈唱和，或是和沈義父論詞而留下《樂府指迷》的論詞標準；或者和周密的交遊影響到《絕妙好詞》的評選；還有張炎在宋元之際對姜夔、吳文英的推崇而有《詞源》的評論。作者的實際交遊圈、創作名聲乃至選本、文學評論的文學地位，這幾個不同層面彼此是互相關連，而不是各自孤立的。
第二、關於文學典律的形成與新變。典雅詞的書寫特點，在於詞家豔情軟媚的體例，本文不從體製、篇章結構來談，而從影響關係來看夢窗詞對傳統的繼承與創新，尤其是清真詞和白石詞。清真詞在《樂府指迷》受到極高的推崇，白石詞在其當世乃至於南宋中後期的江湖或臨安詞人群，各在不同的層面得到極高的評價。夢窗在語用模式和內容意境上有明顯從清真詞轉化而來的痕跡，其個人風格則以「前典後續」的形式來運用典故，又以「切題法」扣合題目，形成意象與意象之間的多重呼應。夢窗以追悔之情來呈現情詞，並有大量的社交之作，反映了南宋中葉社會的富足和文人的生活情態。換言之，夢窗對於傳統的深化在於豔情書寫的掌握，至於社交詞則是因應新的時代環境而產生的創作類型。
第三，關於社交感的情境書寫及文學定位。不同的社交場域有各種細微的牽動變因，詞體從社交實境進入創作領域，會因實境或虛寫而呈現出某種社交感，或是調笑情調、或是投獻恭維的華麗描寫、或是登臨遊覽的古今慨歎、或是送別的祝賀和傷感；社交場域實際上提供了參與者「彼此觀看」的背景，因此社交書寫不只描寫所觀之物，還寫觀物之人以及社交背景。夢窗具有察覺環境細微差異的敏銳度，加上擁有細緻而精準的筆力，這些豐富的社交詞表現，在兩宋詞人來說是極為特殊的。文中討論南宋中葉社會上的詞學社集和群體造成的書寫風潮，並透過夢窗詞序和詞作內容去呈現臨場展演的社交情境，比較不同情境中產生的社交感，最後討論如果將社交詞的生成，放在抒情傳統的脈絡下，社交詞往往有具體的針對對象，抒情主體在社交詞中呈現弱化的情況，所以典雅派的社交詞實際上偏離了抒情傳統。
江湖詞客這種俯仰由人的身份，要在更多的人際限制之下求生存，寒士的生涯和華麗的詞風，本身就具有很強烈的張力，夢窗社交臨場展演的言語調度、酬酢賦詠的實際
功能都遠遠超過抒情的目的。南宋末經由夢窗這種精心錘鍊的社交詞，最後因為國家淪亡，失去了足以支持的社會條件，也因此後繼無人。

關鍵字

吳文英 ； 社交詞 ； 技藝 ； 清真 ； 白石 ； 江湖詞人

並列摘要

The establishment of literature system is an essential element of canon formation. We may conduct a multi-dimensional investigation into the performativity of a given literature system by examining the social and cultural contexts within which the system was generated. The content of Ci encompasses a riotous profusion of situations ranging from banquets livened up by song and dance to all kinds of interpersonal activities. The discussion of this dissertation revolves around the Ci anthology (i.e. Mengchuang Ciji) by Wu Wenying, a Ci writer flourishing in the Southern Song Dynasty, from which this dissertation seeks to analyze the social phenomena of itinerant Ci writers’ literary exchange and to elaborate on how Mengchuang Ciji perpetuated and transformed the traditional style of Ci.
This dissertation proceeds in three parts. The first part identifies the spread pattern of itinerant Ci writers’ fame. As an itinerant Ci writer, Wu Wenying traveled around the country, enlarged his circle of friends, and gradually became famous among aristocrats with his mastery of Ci composition. His works were even noticed and reviewed by the coeval literary circles. For example, Wu not only extensively exchanged odes with bigwigs and other Ci writers, but also joined the debate on Ci with Shen Yifu, which therefore laid down the methodology of Ci composition in Yuefu Zhimi. Besides, the ties of friendship between Wu and Zhou Mi substantially influenced Zhou’s selection and compilation of Juemiao Haoci. Moreover, Zhang Yan’s encomia to Jiang Kui and Wu led to his eulogistic review in Ci Yuan at the dynastic change between Song and Yuan. Accordingly, Wu’s circle of friends, fame, and literary status are interconnected rather than isolated dimensions.
The second part of this dissertation deals with the formation and variation of literature canon. The Ci that exudes a classically elegant charm features a sentimental, gentle and lovely style. Instead of analyzing its system and structure, this dissertation investigates the perpetuation and transformation that Mengchuang Ciji made on the traditional style of Ci, Qingzheng Ci and Baishi Ci in particular. Qingzheng Ci was praised highly in Yuefu Zhimi, and Baishi Ci was valued highly by coevals as well as the itinerant Ci writers and Lin’an Ci writers’ group in the mid- and late Southern Song Dynasty. Mengchuang Ciji carried the characteristic signature of Qingzheng Ci in terms of phrasing and literary conception. In addition, it adopted a unique style that not only connected literary allusions with subsequent elaborations but also employed the method of pertinence to create mutual references between images. Mengchuang Ciji not only presented affections with verses brimming with repentance, but also included a large number of works depicting interpersonal activities, which collectively reflected the national prosperity and the quotidian existence of literati in the mid-Southern Song Dynasty. On a more specific basis, Mengchuang Ciji perpetuated the tradition with its mastery of affective writing, while the works depicting interpersonal activities represented a new genre of Ci that emerged out of a new milieu in a new era.
The third part of this dissertation explicates the writing and orientation of the sense of social relationship. Different occasions of interpersonal activities exhibit subtle cultural and social nuances. Transited from social realities to literary creation, the style of Ci may create a sense of social relationship on the basis of imitating real situations, be it flirting, flattery, deep feelings inspired by majestic scenery, or the blessing and sorrow in farewell. The occasions of interpersonal activities actually provided the participants with an environment for mutual observation. As a result, the depiction of interpersonal activities involved not only the things being observed but also the observers and their social backgrounds. Mengchuang Ciji was sensitive to the slightest nuances in the milieu. In view of the delicate strokes of genius it showed, Mengchuang Ciji was regarded as a pretty unique text among the works by the Ci writers in the Song Dynasty.
In short, this dissertation firstly discusses the prevailing literary custom established by the Ci writers’ groups in the mid-Southern Song Dynasty. It then reconstructs the occasions of interpersonal activities according to the preface and content of Mengchuang Ciji, thereby carrying out a comparative analysis of the senses of social relationships created in different situations. This dissertation finally places Mengchuang Ciji in the context of the lyric tradition, finding that the significance of the objects it referred to is reified and highlighted, while that of the subjects is downplayed. Drawing inferences from this context, the works by the Ci writers who espoused the classically elegant style in fact deviated from the lyric tradition.
Itinerant Ci writers were subject to the stipulation made by others, and therefore they must struggle for survival amidst different social relationships. The experiences of impoverished literati and their flowery style of writing conveyed a powerful sense of tension. The actual functions performed by Mengchuang Ciji, namely the depiction of the occasions of interpersonal activities and the exchange of toasts and odes, stretched far beyond the limited horizons of lyric poetry. The Ci as sophisticatedly forged as Mengchuang Ciji in the late Southern Song Dynasty was not spared the fate of lacking qualified successors due to the withering away of the supportive social conditions after the overthrow of the Southern Song Dynasty.

並列關鍵字

Wu Wenying ； the sophisticated Ci ； Qingzheng Ci ； Baishi Ci ； the mastery of Ci composition ； Itinerant Ci writers

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