西漢賦諷之淵源、策略與文化意義──以史書所錄司馬相如、揚雄作品為例

Tradition, Strategy, and Cultural Significance of Suggestive Irony in West Han Rhapsody – Taking Sima Xiangru and Yang Xiong as Examples

胡頎(Chi Hu)

指導教授 ： 張蓓蓓

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.2014.02154

摘要

由於不合乎中國以人物、性情為主的文學傳統，歷來文學史對漢賦的討論或貶抑其為政治附庸，或純就鋪排技巧予以肯定，無論褒貶，皆將之視為文學疆域的邊陲。然而，在漢人自身的描述中，賦卻一度蘊含接續《詩》成為新經典的理想。兩種評價的巨大落差，實反映了評價背後對文學意義及其實踐方式的認知差異。本文希望透過對司馬相如、揚雄的賦作與相關文史資料的梳理，重建此一文學活動的情境，與漢人所理解的文學意義，為漢賦批評提供更加公平的參照基礎。
從漢人對詩賦淵源的論述可知，漢賦承繼了古詩「諷諭」的文化理想。所謂「諷諭」，不僅是針對單一事件諫說，更透過文學「動人」的特質，使接受者在整體浸淫中養成一觀看、感受的方式。唯因漢世政治社會與君臣關係大異於周代的貴族封建，是以漢賦的寫作策略整體上以「共感」取代了詩樂的「同情」：透過誇飾、戲擬及強勢的鋪排牽引，使讀者不得不離開熟習的觀看位置，重新檢視事物與判斷的距離。此一諷諭文化也能不斷提醒君主應在便宜的常規判斷外，保持鮮活的感知能力，而不淹沒在日益繁密的文飾與抽象價值中。
要言之，本文透過漢賦明顯的應用性，及作者與讀者的特殊關係限制，將文學放回原初的溝通表達模式中，以探究抒情、敘事等以作者、文本為主的文學研究外的另一種可能。

關鍵字

漢賦 ； 詩賦淵源 ； 諷諭 ； 諫 ； 文學侍從 ； 經驗 ； 司馬相如 ； 揚雄

並列摘要

Not following the Chinese literary tradition centered on figures and their characters, Han rhapsody (Han Fu) always seems to be put at the periphery of literary criticism -- either dismissed as only singing praises of the royalty, or valued for its craft of depicting. However, in the opinion of intellectuals during Han dynasty, the rhapsody was once expected to be the new classic that succeeds the Classic Odes (Shijing). The contrast between these two evaluations reflects two different value and practices of literature. Therefore, this thesis aims to reconstruct the field of the production of rhapsody, and the view of literature particular to it. By discussing the rhapsodies of Sima Xiangru and Yang Xiong and related historical documents, this thesis hopes to offer another basis for the criticism of Han rhapsody.
In Han, the discourse of the relationship between the classic odes and rhapsodies suggests the latter inherit the idea of "suggestive irony". "Suggestive irony" is not only a mean to persuade the emperor, but also to cultivate a way of seeing and feeling for through affecting the reader in a particular way. Because of the revolution in the social and political environment and the change of the relationship between a majesty and his subjects, rhapsodies have taken the strategy to make readers feel, as compared to how classic odes make readers empathize. By exaggeration, parody and the use of compelling descriptions, rhapsodies force readers to leave their habitual mode of perceptions, and so to re-evaluate the discrepancies between facts and judgments. This kind of suggestive irony culture also reminds the emperor to keep a fresh perception, rather than drown in the increasingly decorative literary style and abstract values.
To sum up, this thesis hopes to put literature back to its original function of communication. Studying the special relationship between the author and the readers, and the obvious purposefulness of Han rhapsody, I will demonstrate another possible way of studying literature, which is quite different from the author/text-based studies of lyric/narrative tradition.

並列關鍵字

Han rhapsody (Han Fu) ； relationship between Classic of Odes (Shijing) and Han rhapsody (Han Fu) ； suggestive irony ； remonstrance ； literary chamberlain ； Erfahrung ； Sima Xiangru ； Yang Xiong

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