《聊齋誌異》主體意識的呈顯與構設

The Presentation and Construction of the Subject Consciousness in Strange Tales of Liao Zhai

賴信宏(Sin-hung Lai)

指導教授 ： 康韻梅

國立臺灣大學/文學院/中國文學研究所/博士(2014年)

https://doi.org/10.6342/NTU.2014.01321

摘要

本論文在思考志怪傳奇文類研究中，魯迅提出唐傳奇「始有意為小說」的判斷，涉及到知識、倫理、情志、修辭等多重的主體意識。這一意識並不指向是現實中的作者，而是隸屬於作品效果的潛在價值。主體意識在作品呈顯與讀者構設的雙向交流中，《聊齋》以文本群呈現一個浮動的主體形象，讀者同時不斷進行補充、調整、對話來構設主體，使敘述成為容納多重意識的心靈空間。《聊齋》既透過修辭、故事編造等手法，將價值判斷寄託在人世的觀照上，深化自我的人生價值，同時以自我參與的姿態進入敘述體驗，抒發自我情性，並在修辭、知識、價值與情志的交叉映帶中，凸顯主體意識的多重面貌。
論文主要分成五個部份，旨在區分「主體意識」的層次與效用：「場域」處理的是歷史中的蒲松齡實際生活的處境，以及《聊齋》故事中體現的生存處境，以部分的切身經驗呈現在故事中，並透過敘事遂行自我價值，達成心理補償的效用。「知識」處理的是事實判斷，《聊齋》借助怪異題材的寫作繼承一種擱置、介入認知的寫法，與此同時，也在文類發展中調整書寫策略，試圖在生、熟的文類展演中延續認知真實的寫法，突出故事編造的認知參與。「倫理」處理的是價值判斷，作者將勸誘的主旨注入敘述中，發掘人之為人的核心價值，以否定、肯定、回歸三種類型，在敘事中採取評判、質疑等不同的態度，展現了主體意識涉入了價值判斷。「情志」從公共的價值轉向個人的情感抒發，故事不只是一種觀照他人的評斷，也是自我情感的抒發，敘述以「感通」和「發憤」達成抒情的效果，在攸關蒲松齡切身經驗的主題中，成為主體參與的情感事件。「才子」則來自創作者的修辭巧思，在《聊齋》一書中，可以顯見其用古字古句錘鍊修辭，並在故事經營採取多樣的陳說策略，顯見創作的巧思。
論文中五個章節各自環扣著「主體意識」的不同層次，足見志怪傳奇的文類發展到清代，已具備著多樣的創作機制，《聊齋》書寫故事以層次交疊的手法，將真實與虛構、價值與情感、藝術與趣味融於一爐，從中寄寓主體意識，呈現主體意識在《聊齋》書寫中的多重會通。

關鍵字

主體意識 ； 聊齋誌異 ； 場域 ； 知識 ； 倫理 ； 情志 ； 才子

並列摘要

In the study of literature involving mystical or legendary elements, this thesis seeks to investigate the subjective consciousness of knowledge, ethics, emotions, and rhetoric which lodged in Lu Xun’s argument that the Tang Dynasty’s Chuanqi “represented the preliminary form of novels.” Such consciousness does not refer to the real author, but is subordinate to the potential values of the effects created by literary works. In the bilateral exchange between the book’s presentation and the readers’ construction, Strange Tales of Liao Zhai presented an unfixed subjective image, and the readers simultaneously contributed to the construction of the subject through constant supplement, amendment, and dialogue. This exchange made narratives a spiritual space which contained multi-level consciousness. On the one hand, Strange Tales of Liao Zhai enhanced its own reference value for readers by placing value judgment on its concern over the mundane world with the techniques of rhetoric and story-writing. On the other hand, the author Pu Songling weaved narratives and expressed his own disposition in a manner of self-participation. In sum, this book comprised an intersecting set of rhetoric, knowledge, value and emotions, which highlighted the multi-faceted subjective consciousness.
This thesis proceeds in five parts that collectively aims at clarifying the levels and functions of subjective consciousness. The first part is “field.” It addresses Pu Songling’s life condition and the situations described by the stories in Strange Tales of Liao Zhai. Pu obtained psychological compensation by incorporating some of his experiences into the stories and fulfilling self-values through narratives. The second part is “knowledge.” It tackles the judgment of facts. Strange Tales of Liao Zhai inherited a technique of intervening in cognition by setting it aside from the writing of grotesque subject matters. Meanwhile, adjusting his writing strategy by reference to the evolution of literary genres, Pu attempted to continue the technique of reality cognition amidst the newly-developed and classical literary genres, which facilitated cognitive participation in writing stories. The third part is “ethics.” It deals with value judgment. Pu embodied the core values of mankind by blending the element of counsel into his narratives. Reflecting critical and skeptic attitudes in the narratives with negative, positive and recurring descriptions, Pu demonstrated the involvement of subjective consciousness in value judgment. The fourth part is “emotion.” It shifts the discussion from common values to the expression of personal feelings, for stories not only serve as judgments on others’ life but also provide an outlet for personal emotions. Pu created a lyrical effect with “correspondence” and “resolution” in his narratives, and thereby enabled the subject to participate in the themes closely related to his experiences. The fifth part is “gifted scholar.” It elaborates on Pu’s ingenuity in rhetoric. Strange Tales from a Chinese Studio was composed of Pu’s refined diction and various strategies for story-layout, which clearly reflected his creativity.
The five parts are respectively interlocked with different levels of subjective consciousness, which shows that scholars/writers in the Qing Dynasty have developed a variety of creative mechanisms for the literature involving mystical or legendary elements. By superimposing the above mentioned levels, Pu fused reality and virtuality, values and emotions, as well as aesthetics and delight in Strange Tales of Liao Zhai. In conclusion, the subject consciousness was therefore embedded and presented in the multi-level correspondence in the writing of this book.

並列關鍵字

subject consciousness ； Strange Tales of Liao Zhai ； field ； knowledge ； ethics ； emotion ； gifted scholar

參考文獻

謝明勳：《古典小說與民間文學——故事研究論集》，臺北：大安出版社，2004年。

劉階平著：《聊齋手稿與鑄雪齋鈔本研述》，臺北：臺灣中華書局，1983年。

王璦玲主編：《明清文學與思想中之主體意義與社會——文學篇》，臺北：中研院文哲所，2004年。

何炳棣；徐泓譯：《明清社會史論》，臺北：聯經出版事業有限公司，2013年。

余英時：《中國近世宗教倫理與商人精神》，臺北：聯經出版事業公司，1987年。