敦煌曲子詞寫本原生態及文本功能析論

A Study on the Original Condition and Textual Function of Dunhuang Quzici Manuscripts

朱鳳玉(CHU Fengyu)

《敦煌學》 38期 (2022/08) Pp. 33-51

摘要

敦煌文獻的發現，就中國文學的立場來看，其最重要的當是變文、曲子詞、唐人詩歌等文學作品。敦煌曲子詞的發現，既豐富了唐五代的詞作；又提供了早期各式詞體，使得詞的起源問題必須重新檢討，中國詞史更不得不改寫。從1920年王國維〈敦煌發現唐朝之通俗詩及通俗小說〉首次公佈了〈望江南〉及〈菩薩蠻〉等三首敦煌曲子詞以來，直到2000年的80年間，對敦煌曲子詞研究已發表的論著篇章有七、八百篇之多。除文字、聲韻、校訂等文獻學研究；詞調探源、格律分析等詞學綜合研究；文本賞析等文學主體研究外，也不少從事音樂、舞蹈、藝術、民俗等文學文化學的延伸研究。面向開闊，成果卓著。敦煌曲子詞均以寫本形式流傳，形態多樣，有編纂成集，有創作，有雜寫，抄者鮮有編輯意識，因此不存在定本概念。每一抄本，都具有獨特的時間性、空間性與階層性意義；作者、抄者、編者、使用者各自留下痕跡，呈現敦煌寫本的特殊文化。本文有鑒於此，特針對敦煌曲子詞文本抄寫的原生態展開考察，進而從文學文本的創作稿、抄寫、轉錄、彙抄等流傳情形，以及作品的編輯、閱讀、仿作、改作等接受現象，加以分析；從卷子、冊子、散紙等寫本物質形態進行析論。並從作者、使用者與讀者功能等不同視角，嘗試詮釋敦煌寫本的特色與現象。希望提供寫本學研究的另一面向，並有助敦煌文學文本多層次現象的解讀。

關鍵字

敦煌曲子詞 ； 寫本原生態 ； 傳寫 ； 叢抄 ； 流佈

並列摘要

From the perspective of Chinese literature, among the manuscripts in Dunhuang, the most important discovery lies in the transformation texts, Quzici, and poems from the Tang dynasty. The Quzici is even more remarkable. The discovery of the Quzici enriches our understanding of the lyric literature of the Tang and Five Dynasties. It also provides vivid examples of various genres of the lyric literature, which forces us to reconsider the origins of the ＂ci＂ genre and to rewrite the early history of Chinese ＂ci＂ literature. In 1920, Wang Guowei published a paper titled ＂The Popular Poems and Popular Novels of the Tang dynasty Discovered from Dunhuang＂ and discussed three Quzici works including ＂Wang Jiangnan＂ and ＂Pusaman.＂ Since then in the following past eighty years, about eight hundred books and articles have been published for discussing the Quzici from Dunhuang. Some of them focus on textual studies, such as transcriptions, phonetics, and editing. Some of them focus on the lyric studies. And some of them focus on aesthetic and rhetoric studies. Others focus on music, dance, art, and folklore studies. For the Quzici, what we have are mostly manuscripts, with many different forms and formats. There are collections such as the Yunyaoji. Some of them are compositions and some others are miscellaneous copies. Most of them are randomly written by readers without consciousness of editing, which do not have the concept of final version. Each manuscript has its unique spontaneity and spatiality as well as the hierarchical meaning. The writers, copy makers, editors, and users of these manuscripts left their traces respectively, which illustrate the particular culture of the Dunhuang manuscripts. This paper focuses on the original condition of these manuscripts and examine the transmission of their composition, copying, rewriting, and collecting, as well as the editing, reading, imitating, and recomposing, analyzing their material forms as scroll, brochures, and miscellaneous sheets. This paper will also interpret the characteristics of these manuscripts from the perspective of writers, users, and readers. It hopes to provide a new dimension for the study of these manuscripts in order to enrich the interpretation of the Dunhuang literature.

並列關鍵字

Dunhuang Quzici ； manuscript ； original condition ； transcription ； excerpts ； spread ； reception

參考文獻

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王國維（靜菴） 〈敦煌發現唐朝之通俗詩及通俗小說〉，《東方雜誌》第 17 卷第8 期，1920 年 4 月，頁 95-100。