歐陽脩文中的自身形象和自我認知

Abstract

本論文以歐陽脩文中的自身形象與自我認知為研究對象，希望透過對歐陽脩散文中自稱及署名的梳理，分析其文中自身形象之歷時變化，並結合文本分析、文獻比對，探討其形塑這些形象背後所隱含的自我認知。 為了進行歷時變化的觀察，本論文依據歐陽脩文中自稱、署名的特質，依時分為三個時期，並由此以三章展開論述。在第二章〈「心壯志得」的「卑且閑者」〉中，從歐陽脩在天聖年間至康定元年間的散文，以及其中的署名與自稱，觀察這時期所塑造的自身形象。大致上，此時期的自身形象可分為心壯志得的昂揚少年，及自居「卑且閑者」的寒門士人兩個面向，分別反映歐陽脩對於政治的熱情與理想，以及他對出身以及官位的自卑心理。而就「心壯志得」的一面，他深入的意識到自己在他人面前具有狂逸不拘的形象，因此不能完全辯駁友人所命「逸老」之稱，但與此同時，他也認知到自身具有「以直為道」的政治信念，所以自稱「直士」。除此之外，在第二章中，亦分析了此時期歐陽脩文中的自稱、署名特質，較為多變也尚未形成固定的書寫模式，這反映了歐陽脩此時尚未具有穩定的認同。 第三章〈朝廷命官與撰史者〉則分析慶曆元年至治平二年間，歐陽脩文中的自身形象與自我認知。在這時期，歐陽脩的署名開始穩定，主要分為「廬陵歐陽脩」及「官職＋歐陽脩」兩大類，且分別有其對應的書寫時機。除此之外，這個時期也是歐陽脩仕途的黃金時期，其文中的自身形象更為豐富，反映了他多重的自我認知，而這些形象大約可分為朝廷命官與撰史者兩類。本章分析太守、刺史、諫官等身分對歐陽脩的意義，並從私人和公職兩方面，分析歐陽脩作為「史官」的自我認知。另外也注意到歐陽脩在文中並置公、私領域形象的特色，並從對照不同文本，分析這種手法的意圖，以及在背後對自我所隱含的多重認知。 第四章〈「老於物」的六一居士〉分析治平三年以後，歐陽脩散文中所呈現的自身形象和背後隱含的自我認知。治平三年起，歐陽脩散文中開始出現「六一居士」的自號，而後也成為了他晚年的主要署名。關於六一居士的自號，其出現背景為何？背後又隱含哪些意義？本章從歐陽脩的身體狀況、政治處境、隱居之志等方面探討他以此為號的背景，並藉由藏書、金石遺文、棋、琴、酒等「五物」對他的意義，以及居士的文化脈絡，探究他自稱「六一居士」的內涵。除此之外，也透過「醉翁」與「六一居士」的對比，分析其晚年自我認知與認同的轉變。 本論文藉由歐陽脩文中自身形象和自我認知的研究，分析歐陽脩對於自我的辯證與思索，為研究宋代士人心靈圖像帶來了新的視野。

This paper focuses on the self-image and self-cognition of Ouyang Xiu in his proses. Ouyang shapes different self-image in his proses, and they reflects his self- cognition in different peroids. To analyze Ouyang’s multiple self-image and self-cognition, this thesis lists the signatures and self-title in his proses, and explores their meanings. This paper includes three chapers. In the second chapter, 'The Humble and Idle People' of 'proud', I sort out the self-image created from the time of Tien-Sheng（天聖） to the first year of Kang-ting（康定） in Ouyang Xiu's proses, as well as their signatures and self-professions. Roughly speaking, the self-image of this period can be divided into two images: a high-spirited young man and a humble scholar, reflecting Ouyang Xiu's passion and ideals for politics, as well as inferiority complex from his background and official position. On the side of 'spiritual ambition', he deeply realized that he had an wild image in front of others, so he could not completely refute the name of his friend 'Yi Lao'（逸老）, but at the same time, he also recognized himself he has the political belief of 'straightening the way', so he calls himself 'Zhi Shi'（直士）. In addition, in the second chapter, it also analyzes the traits of self-titles Ouyang Xiu calls himself in his proses during this period, which are more variable and have not yet formed a fixed writing pattern, which reflects that he has not yet had a stable identity at this time. In the third chapter 'The Imperial Court Commander and History Writer', I analyzes Ouyang Xiu's proses’ self-image and self-cognition in the first year of Qing-li（慶曆） to the second year of Zhi-ping（治平）. During this period, Ouyang Xiu's signature began to stabilize, mainly divided into two categories: 'Luling Ouyang Xiu'（廬陵歐陽脩） and 'Official Post + Ouyang Xiu', and each had its corresponding writing timing. In addition, this period is also the golden period of Ouyang Xiu's official career. His self-image in the text is more abundant, reflecting his multiple self-cognitions, and these images can be roughly divided into two types: court officials and historians. This chapter analyzes the significance of Ouyang Xiu's identities such as Tai Shou（太守）, Ci Shi（刺史）, and admonisher, and analyzes Ou Yang Xiu's self-cognition as a 'historical officer' from both private and public positions. In addition, I also notice the characteristics that Ouyang Xiu places public and private images together in the text, and I compare the different texts to analyze the intention of this technique and the multiple cognitions behind the self. The fourth chapter, 'The Retiree Six-One ageing in matters', analyzes the self-image and the hidden self-understanding behind Ouyang Xiu's proses after the third year of Zhi-ping（治平）. In the three years since Zhi Ping, Ouyang Xiu's proses began to appear with the self-titled ' The Retiree Six-One ', and later became his main signature in his later years. What is the background of The Retiree Six-One’s self-title? What is the meaning behind? This chapter discusses the background of Ouyang Xiu's physical condition, political situation, and her aspiration of retirement , and the meaning of 'five things' to him, such as the collection of books, the remains of Jinshi, chess, piano, and wine. Besides, I explore the connotation of ' retiree ' by cultural context. In addition, through the comparison of 'Drunken Elder' and 'Sixty One Residence', I analyze the changes of his self-cognition and identity in his later years. This thesis analyzes Ouyang Xiu's reflection to himself through Ouyang Xiu's self-image and self-cognition research, which brings a new perspective to the study of the spiritual images of scholars in Song Dynasty.