東坡詞感官意象研究

本文問題意識的產生，源自感官之於人們生活的重要性，將焦點放置在目前詞學領域較少關注的感官意識，對東坡詞中顯現出的感覺經驗進行總體性的討論。感官作為主體與環境的中介，既涉及客觀現象的接收，又蘊含主觀的區辨，其主客兼具的特性提供了一種詮釋詞作、瞭解詞人的新思維。據此，文章分別檢視詞體特質對感官表現之影響、東坡詞感官的藝術審美、感官與其內在情感的溝通作用。期藉由梳理感官知覺、詞、東坡，三者的對話，輻輳出東坡身為「人」的面目，並嘗試探索「感官知覺」於詞學研究的一種可能。文章首先回歸文體本身，逐次由音樂的性質、詞的生長背景、展演形態等，辨明詞體書寫感官的獨特性。詞吸收了音樂向前運動、層層堆疊的特質，表現於感官書寫則是感覺的連續延伸，感官間相互支援以引導出完整而連綿的情感體驗。另方面，出於社交娛樂的需求而起的詞，其創作意識、搬演環境與表演形式，亦皆穩固感官於詞體的參與空間。其次，研究著眼於感官的認識性，討論東坡構設感官的藝術手法。個體特殊的情性思維、生命經歷，促使人發展出對世界不同的探尋，亦即，我們感受到的世界，其實存在與自身性格相繫的意義。本文主要分析作為主導感官之視覺、聽覺的審美特點，以及東坡經營之感官偏好，一方面從感覺的差異觀看東坡為詞之新意，一方面探索東坡與客觀世界交涉的感知方式，和其中流露之東坡的心靈品質。復次，文章討論感官與東坡情意世界的互動，以東坡詞的詞情主題為軸，並配合詞作繫年進行爬梳。東坡詞的聽覺意象與其時空意識的連結，顯示他將聽覺提升到與精神領悟更為相關的境界。此外，以黃州時期為分界，詞作有關嗅、味覺的描繪增多、情感意涵擴展，東坡的身體感覺亦逐步由晃動、不穩轉趨舒徐，又增添許多主動出遊的紀錄。在身心一體的聯繫下，心靈的情狀左右人們的身體姿態，感官的變化成為一條路徑，映照出時間推移下，東坡內部的情感訊息。本文將視域放置於東坡詞的感官表現，辨析詞作呈顯的審美情態，以及沉潛其下之東坡的情感意涵，試圖透過另一種角度說明東坡的詞風、詞情。研究以感知的方式、觸動之情懷以及和生命歷驗的呼應，指出感官具有溝通東坡內外世界的作用，呈現出一個活生生的個體在生命長流中不停歇地探求和思考。

關鍵字

蘇軾；東坡詞；感官意象；感官書寫；感覺；知覺

並列摘要

The problematic of this paper originates from the importance of senses in people’s lives by focusing on sensory awareness, which seems currently somewhat obscured in the field of Ci studies and hosting an encompassing discussion on the sensory experiences depicted in the Ci of Su Dong Po（蘇東坡）. As the medium between a subject and its environment, senses encompass the reception of objective phenomena, as well as subjective discrimination, and provide new thinking in interpreting the composition of Ci Poetry and understanding the composer. Therefore, this research would examine the influence of the characteristics of the lyric on the sensory expression, the communication effect of the artistic aesthetics, senses, and inner emotions of Ci Poetry of Su Dong Po. Through the articulation of the dialogue amongst sensory perception, the lyric, and Su Dong Po, the human presence of Ci Poetry of Su Dong Po can be manifested while attempting to explore the existential possibility of “Sensory Perception” in the study of Ci. This paper first returns to the main lyric body itself, and then through the musical characteristic, the background of the lyric and performance form, seeks to discern the uniqueness of the sensory experience from the lyric writing. As the lyric internalize the characteristics of the forward motion and the layering effect of the musical movement, its manifestation becomes the perceptual extention expressed in sensory writing while drawing out a complete and continuous emotional experience. Furthermore, as the lyric was the result of social and entertainment demands, its creative ideal, staging environment, and performance format would also solidify the sensory resonance within the lyric. Also, while focusing on the sensory cognitive in articulating the artistic stroke by Su Dong Po constructing the sensory experiences, the unique emotional thinking and the life-long journeys of individuals have prompted them to develop various worldly explorations, the world as we have experienced has embodied meanings closely connected to our very characters. This paper analyzes the visual and acoustic aesthetics of the lyric, as well as the sensory preferences Su Dong Po has impressed upon us, on the one hand, to contemplate the new meanings imbued in Su Dong Po’s lyric through emotional differentiation, and on the other hand, to explore the sensory method in which Su Dong Po negotiates with the world of objectivity, as well as the mental quality emanated by Su Dong Po. Moreover, this paper seeks to discuss the interaction between the senses and Su Dong Po’s world of emotion, based on the semantic themes of Su Dong Po’s lyric, in complement with a chronological study of his lyric. The connection between the acoustic imagery and its contemporary awareness time of Su Dong Po’s lyric has shown that he has elevated the acoustic sense to the level of mental enlightenment. Besides, with the Huangzhou（黃州） period as the chronological demarcation, the depiction of the senses of smell and taste in the lyric composition has grown significantly, and the expended emotional content also demonstrated a bodily experience going from that of wobbling instability to tranquil peace. With the mind-body symbiosis, the mental state may dictate our body posture, as the sensory changes enlighten an insight into the emotion within Su Dong Po through the changing of time. This research has placed its vision on the sensory expressions of Su Dong Po’s lyric to decipher the aesthetic sentiments exhibited by the lyric composition through perception, interluded emotions, and resonance with life experiences, as well as the inner emotional landscape of Su Dong Po while this study seeks to highlight the semantic possibility of the senses to express the inner and outer worlds of Su Dong Po and to enunciate the creative style and emotions of Su Dong Po’s lyric.