自適、載道與歎逝:歐陽修《集古錄跋尾》之抒情性

Abstract

《集古錄跋尾》是歐陽修自適之作，產生於其嗜古之僻與文辭之好中。歐公日常取《集古錄》觀覽，於焉感受到書法之美感，考據之樂趣，流連忘憂，得其自適，因之將賞鑒的過程與心情抒寫下來，成其跋尾。自適，是《集古錄跋尾》抒情性之重要構成，見出一個抒情「小我」。 《集古錄跋尾》又是歐公載道之作。生命在自適之外，猶有其更高的嚮往，於歷史文化之經驗中，於生命仰望之處，見「道」之所在；由「道」而化生一個理想的儒者人格。歐公以其生命之實踐將此一人格呈現，他之為儒者又尤重史學與文學的特質，與其集古、寫作之愛好相互契合，見「小我」向「大我」之轉化。《集古錄跋尾》是歐公古文運動理想付諸實踐之產物，證明實踐為其載道之歸宿，而見作者人格始終一致，前後一貫的真誠。載道，是《集古錄跋尾》抒情性之另一構成，見出一個抒情「大我」。 歐公對已逝之生命、已逝之世界，實懷有一種敏感與憐惜，是為歎逝。「歎逝」潛流於「自適」及「載道」之底層，見「小我」與「大我」融通並存，成《集古錄跋尾》抒情性之又一構成。歐公的人格在日常之閱讀與寫作中被涵育鍛煉：他從小我轉向大我，從個體轉向群體，從有限趨於無限，置自我於文化傳承的進程，慨然擔負起傳承的責任。生命在傳承中得以超越時間之有限，成其不朽。道不遠人，我不兩分，這一涵育自我之過程，起於自我對生命的深情體會，富於省思與辯證的精神，由人生之實踐加以證成。認識與實踐合一而成其生命境界，乃見人生之大體與全真。「自適」、「載道」與「歎逝」，是此一涵育過程之縮影與外化，涵攝了作者生命最高之熱情，最強之活力，最深之自信。歐公確然將自己放入了《集古錄跋尾》；而《集古錄跋尾》之抒情性，正蘊生於作者生命境界之中。

The thesis studies on Ouyang Xiu’s歐陽修 Postfaces of Jigu Lu集古錄跋尾. During the latter half of his life, Ouyang Xiu writes more than four hundred pieces of postfaces跋尾 to his Jigu Lu集古錄，a fabulous collection of ancient bronze and stone inscriptions. His writing conveys the appreciation of calligraphy, the interest in history, and the understanding of literature. He reads inscriptions during his spare time as a hobby. He satisfies himself by writing. As a collection of Guwen古文, the Postfaces of Jigu Lu is firstly written for ease自適. Inscriptions help to reveal the past as a kind of historical material. Seeing the rise and fall of the dynasties when reading history, Ouyang Xiu gains a deep understanding of Dao道. He cultivates himself by learning from history. Like the predecessors, a sense of responsibility for the society rises. Believing in Confucianism, he makes great efforts to preserve and promote the values of Ren仁，Yi義，Li禮，Yue樂. He practices Dao to approach his political ideal. He believes writing help people remember and understand the past, and Dao can be better conveyed and spread by brilliant writing. The Postfaces of Jigu Lu is written for faith載道 and finally proves his success in writing Guwen. In his works, Ouyang Xiu is sentimental about time, showing his affection for life. No man is an island, entire of itself; every man is a piece of the continent, a part of the main. The author in ancient times is rather a statesman than simply a writer or a scholar. He is a Shi士who cares much about the main. In the writing, Ouyang Xiu thinks about the destiny of himself and of the main. What he experiences in life, what he sees and learns from history are passed down. He unveils the limitation of an individual and the significance of inheritance. The Postfaces of Jigu Lu is written for inheritance indeed. It shows how Ouyang Xiu faces the life, how he finally grows into a paradigm of Shi by cultivating himself. And that’s where the Lyricism抒情 comes from.