六朝上表的書寫與閱讀

Abstract

自五四以降，上表多被劃分於實用文類，不被視為「文學」範疇，這種論述框架於二十一世紀後逐漸有所反思。本論文以「六朝上表的書寫與閱讀」為題，以文學研究的角度，探討六朝上表如何以其自身形式回應時代變局，並以「書寫」與「閱讀」作為本文關注上表之關鍵詞，意在傳統「作者」與「讀者」一線兩端的認識外，彰顯六朝上表於寫、讀情境的複雜性與多層次性。所關注的重點是：六朝上表是如何被寫成、流傳以及閱讀？一位作家如何學習上表寫作？尤其在「士族文學」的視野下，因應不同政治時局所作的不同類型上表，有何書寫之文體規範與時代考量，此又如何影響到《文選》於少數清英上表之選錄因素？ 在研究方法上，則借鏡「完境文學史」的視域，透過反思當代學術偏重「抒情」的研究傾向，試圖回歸歷史語境，跳脫純文學、應用文的二元對立，於情、美等傳統詮釋角度外，重新正視上表於六朝時期的寫作需求與文學意義。本文所論上表作品以六朝時期為主，參照《文選》選文以及《文心雕龍》的批評，從文體的外圍施用情境到內部文章書寫，依序由不同主題與面向展開討論： 其一、透過上表寫作的代筆、草稿，彰顯上表作者與讀者的多元性質。代筆意味上表文章的生成可能出自委託他人代筆；草稿流傳則意味上表除了預設讀者皇帝外，尚有許多「在境讀者」的潛藏群體。解析上表書寫與閱讀的歷史情境，意在跳脫以「發訊者」、「受訊者」概括作者與讀者的限制，呈現出上表從書寫到閱讀複雜的流動。 其二、上表是否有既定的「文學程式」？文式不僅是文章寫就的軌跡，同時也是觀察一位作家培養、學習的途徑。透過擬體徘諧文〈䱇表〉的詮釋，除了意在會通俳諧與上表文體兩個領域，更是從〈䱇表〉對於上表文體的諷刺與解構，解析上表文式存在的可能。 其三、上表於漢魏之際產生巨變。陳琳「章表殊健」的批評，意味上表開始進入文學審美的領域。而曹植身兼君臣與宗室雙重身份，使上表於於君臣「公」之施用上，加添了宗室「私」的感情成分。透過《文選》曹植上表的選錄，亦可略窺曹植於東漢章表的繼承以及寫作策略的新變。 其四、薦表、解表、讓表、謝表是上表四種不同的子類。四種類型上表的施用場合與文體意義不一，薦表涉及魏晉人倫品鑑與上表書寫的互涉，解表則應對法、罪的政治責任與君臣關係的解離，讓表的興盛關乎齊梁授官三讓的時代背景，謝表與謝啟則深觸陳謝文體的流變。透過還原各種上表施用的歷史現場，從中理解理解上表作品的寫作意義與書寫策略，進而據此知悉《文選》上表選錄的文學價值。 六朝上表以其不同的書寫方式、風格，呈現多層次的歷史風景與文學形象。而上表研究的重要性也在於提醒二十一世紀的讀者：六朝時期的作家都是「士族」，尚未有唐宋以後純粹作詩之「詩人」，在關注詩賦等純文學的同時，也務須正視上表等官文書寫作，方能跳脫出現代文學觀念的框架以及情、美傳統詮釋的束縛，進而還原一幅立體且複雜的六朝文學版圖。

Shang biao has been categorized into practical literary genres instead of belles lettres since the May Fourth Movement; however, multiple reflections have been made on the discourses in twenty-first century. The thesis discusses how shang biao in the Six Dynasties adapted its styles to the changes of times through literary studies. And it also tries to present the complexity as well as multilevel features of the writing and reading besides the traditional analysis on the writers and readers. Several points are elaborated in the thesis, such as how shang biao in the Six Dynasties were written, circulated and read. And how one author learned to write shang biao. Especially influenced by aristocratic literature and political turmoils, different types of shang biao were written under certain literary norms and the changes of times, thus how this phenomenon indirectly affected the selections of Wen Xuan is also discussed in the thesis. The thesis reviews the writing request and literary significance of shang biao in the Six Dynasties besides adopting traditional interpretation of lyricism and aesthetics by analyzing the history of literature as an integral whole, reflecting on the modern research tendencies that stress lyricism and intending to reevaluate the historical context that discards the binary opposition between belles lettres and practical writings. The shang biao works discussed in the thesis were mainly written in the Six Dynasties. The thesis analyzes the practices and writing of literary genres with the references of the selections from Wen Xuan and the discourses from Wen Xin Diao Long. Multiple arguments are discussed as follows. To begin with, through ghostwriting and drafting of shang biao, multilevel features between writers and readers are shown. Ghostwriting means that shang biao might be commissioned to different writers, and the circulation of drafts means there were more potential readers besides the emperors. The analysis of historical context of shang biao’s writing and reading discards the addresser and the addressee that generalize the relation between writers and readers, presenting the intricate flow from writing to reading in shang biao. Secondly, is there certain literary trajectory in shang biao? Literary trajectory not only suggests the process of writing but a way to observe the cultivation and learning process of a writer. The interpretation of the personified pai xie wen, Shan Biao, aims at generalizing pai xie and shang biao and the sarcasm and deconstruction that Shan Biao cast upon shang biao, in a way proving that the trajectory of shang biao might exist. Thirdly, shang biao has undergone significant transformation during Han Dynasty and Cao Wei. The criticism on Chen Lin’s zhang biao shu jian suggests that shang biao has begun embracing literary aestheticism. On the other hand, Cao Zhi, who was both a courtier and the imperial prince, has made shang biao more personal. With the selection of Cao Zhi’s shang biao in Wen Xuan, the thesis further analyzes how Cao Zhi was influenced by Eastern Han Dynasty’s zhang biao writing and the transformation of writing strategies. Fourthly, jian biao, jie biao, rang biao, and xie biao represent four different forms of shang biao. The occasions and the meanings of literary genre they represented also varied. Jian biao involved the relation between the character appraisal in Wei and Jin Dynasties and the writing of shang biao. Jie biao corresponded to the disengagement between political responsibility and the emperor-courtier relation. The prevalence of Rang biao could refer to the thrice refusal to the office in Southern Qi and Liang Dynasties. Xie biao and Xie Qi were intricately connected to the transformation of practical writings that express gratitude. By reconstructing the historical backgrounds of shang biao practices, the thesis analyzes the significance and the strategies of writing and further concludes the literary values of selections of shang biao in Wen Xuan. Shang biao in the Six Dynasties presented multilevel historical backgrounds and literary images through various writing methods and styles. The significance of shang biao studies also tries to remind readers in twenty-first century that writers in the Six Dynasties were all aristocracy, and the poets who simply focused on creation have not yet become mainstream until Tang Dynasty and Song Dynasty. To reconstruct the intricate literary framework in the Six Dynasties, not only should we focus on the development of literary works, but also on the writings of official documents, from which we could genuinely liberate ourselves from the frame of modern literary perspectives and the traditional interpretation of lyricism and aestheticism.