紅樓夢脂硯齋詩評研究

The Research on Zhi Yan-Zhai's Poetic Concepts

江岩霞(Yean-Ha Kong)

指導教授 ： 歐麗娟

國立臺灣大學/文學院/中國文學研究所/碩士(2012年)

https://doi.org/10.6342/NTU.2012.10944

摘要

本論文是以脂硯齋的評詩觀點作爲研究對象。脂硯齋引詩内容，幾乎涵蓋所有中國各朝代的文體，如詩經、楚辭、唐詩、宋詩、賦、雜劇、戲曲、諺語及包括魏晉南北朝等各個朝代詩歌。當中，有從唐、宋名家之作中一字不漏地移用過來的；有稍有變更，主要是依評論内容或更動或雜糅的，也有只引詩題而無内容或只引詩題或僅提詩人與篇名而不引正文的。這些引詩方式，主要是為小説文字起注解、預示、讚賞、歸納、總結等作用而來。脂硯齋對唐詩的頻頻引用，反映他對唐代詩歌/人的依戀與傾心倚重，而在衆多詩人和詩歌當中，又要屬杜甫最受脂硯齋推崇。這表現在他引用杜甫詩的次數最多，並多次化用胡應麟對杜甫的評語來評點小説；也表現在其對杜詩「信手拈來」般的高超詩藝及「語不驚人死不休」的錘煉語言匠心佩服不已。脂硯齋和杜甫於詩學上的相關之處，在於兩人皆展現一種對歷朝詩歌都有涉獵及容納的博大精深和兼容並蓄的態度，胸懷一般文人所排斥的綺靡嫵媚詩風。脂硯齋對各朝詩詞的引用，價值在於其令古人詩句呈現出一種「重生」的形跡，即重新賦予經典詩句理解的新義和擴充了詩句的表現力，讓這些詩歌在相隔千年之後依然延續綿綿不絕的生存氣息。

脂硯齋評釋文本詩詞，是採取摘句式的批評方式，即所特頓重提的往往都是全詩的其中一句，而獨取的大部分都是當中之迥拔不凡者。這些「佳句」多是擔當人物未來去向和下場的因果關鍵以及最能顯現人物才智和性情的詩句。脂硯齋「摘句式」的批評方式除了是為篩選佳句服務以外，其他功能還包括了揭示詩讖作爲人物命運伏筆以及提供了解人物詩詞的方法。對於詩歌創作的美學評價，脂硯齋主要原則有三：一、詩歌要「新奇」，即詩詞創作能脫離傳統窠臼，能別開生面另辟蹊徑；二、詩歌關係人物性情，作者按頭製帽，不千篇一律；三、詩詞（贊文）描繪人物氣韻神情，文字著眼於以「形」見「神」。至於如何創造出「驚人」的作品，脂批也提出了一些學習訓練和技法運用，最主要莫過於「煉字」法，而當中可細分爲煉單字、煉詩眼及煉重出字法，讓我們掌握到脂硯齋推崇如此化腐朽為神奇的美學觀。最後論及的詩歌表達方式，則體現出脂硯齋以情理為經、以文辭為緯的文學主張。

脂硯齋對《紅樓夢》裡的一百多首的詩詞曲賦給予了很高的要求與稱許，認爲詩詞有必要對主旨的詮釋、人物的勾勒、情節的走向、文字的運用抑或者是場景的設定起著深化與渲染等作用。這一主張，和曹雪芹鄙棄「作者要寫出自己的那兩首情詩艷賦來」的行爲同出一轍，詩詞曲賦到了脂硯齋這裡已不是因人物行爲而存在的附屬品，也不是可以和人物場景截然分開的獨立文體，是和小説文字為一有機整體，具有開創傳統文學格局的意義。脂硯齋批語中諺語的引用，則展現其對諺語的純熟運用，增添批語的文體特色之餘，也給人一種「信手拈來」的扎實與豐沃感；而透過分析，從中亦可窺探脂硯齋的思想内涵和審美意趣。

關鍵字

紅樓夢 ； 脂硯齋 ； 詩評 ； 詩詞曲賦

並列摘要

This thesis focuses on Zhi Yan-Zhai’s poetic concepts, from which Shi-jing, Chu-ci, poetry of Tang & Song dynasties, Fu, poetry drama, China ancient opera, and proverbs are quoted, displaying a complete style of Chinese poem from before to now. Verses that had been quoted including those completely copy from the poems of Tang and Song dynasties, those slightly been changed according to the content, those only cited the poem title without content and those only cited the poet but without the cited text. This kind of methods, mainly used for the purpose of interpretation, appreciation and summarization. Zhi Yan-Zhai’s frequent reference to Tang’s poems, reflecting his attachment and cordial reliance on the Tang dynasty poetry and in which Du Fu gained the highest respect. The similarities between Zhi Yan-Zhai and Du Fu can be seen from the fact that both of them accepted all kind of poems open-heartedly and showed their tolerance even to erotic poetry. By quoting the poems, not only regenerating the value of these poems, but also restoring and expanding the expressive power of the verse, which lifted these poems alive after a thousand years.

When comes to the poem made by the book’s characters, Zhi Yan-Zhai’s attention usually put on the best verses which hold the important role in showing the reader about the character’s fate and their literary talent. Furthermore, the verses chosen contain also the function of guiding and leading. Zhi Yan-Zhai holded a few principles of aesthetics. Firstly, poetry must show “defamiliarization”, which differs from the traditional stereotype. Secondly, poetry must reveal the character’s temperament. Lastly, poetry must depict characters artistically expression. As for how to create an amazing works, Zhi Yan-Zhai came up with a practical technique calls"Lian-Zi", which has the power in the transformation from ugliness to beauty. But all of the technique required stated above are easily neglected when deals with the feelings of the expression, element which Zhi Yan-Zhai had put it on the top priority.

Zhi Yan-Zhai treated the poems in The Red Chamber as a tool which carrying on the duties of interpreting of the themes, plotting of the story and the setting of the scenes. Zhi Yan-Zhai’s poetic concepts built up a new pattern in understanding the poems in the novel, and thus also explored his literary thoughts.

並列關鍵字

The Red Chamber ； Zhi Yan-Zhai ； poetic concepts ； poem

參考文獻

歐麗娟：〈論《紅樓夢》中的隱讖系譜與主要表述策略〉，《淡江中文學報》第23期，2010年。

游千慧：《張竹坡評點〈金瓶梅〉與脂硯齋評點〈紅樓夢〉之比較研究》， 臺北：國立成功大學碩士，2006年。

吳牧雲：《劉辰翁〈世說新語〉評點研究》，桃園：國立中央大學中國文學系碩士論文，2011年。

參考書目

一、古典文獻