明清之際傳奇敘事手法的時空表現——以遺民為觀點的考察

Abstract

遺民是極富時間與空間特性的群體，他們活在一個特殊的時間點，面臨空間的改易、政權的轉移，遺民中的劇作家往往會藉由具備時空本質的戲曲為媒介，以角色代言，抒發個人對時代的傷懷以及對新／舊兩朝的態度。本論文認為時空無法分割，須視為一個整體，只討論時間或空間的單一面向是不足的，時空在敘事文學中交織成事件與情節，分析時空表現得以掌握其戲劇意義，更能延伸觀察到社會關係與歷史背景。

本論文著重文本分析，以「遺民」為觀點，首先關注明清之際傳奇敘事手法中的時空表現類型，試圖歸納其藝術特色。再者，探究劇作家在運用時空相關的敘事技巧、套式中，可能流露的「遺民意識」與時代感知。

本研究的第一部分借重「時空體」（Chronotope）概念，分析李玉《千鍾祿》與朱佐朝《漁家樂》兩部傳奇中有關「出逃」的情節鋪排與象徵意義，觀察出劇作家以時空佈局所暗含的時代隱喻。研究的第二部分，關注丁耀亢《化人遊》與《赤松遊》中兩種不同的敘事策略——「時間的空間化」與「空間的時間化」，探討時間與空間兩元素雖有所顯、隱仍能相互調配、影響的特質，揭示劇作家在兩劇中藉時空以敘事所表露的懷舊心緒。研究的第三部分嘗試以「地方」（Place）的概念，針對吳偉業《秣陵春》提出新的時空假設，觀察到該劇在時空表現上是「真實」與「想像」並具的，反思異族統治之際個人的仕／隱抉擇與心態依歸，在過去多認為遺民不得不然的兩元對反的生存結果之外，展現不同的面向與可能。

Loyalists are a group characterized by a strong sense of both time and space; they live in a unique time point, during which they face changes to their environment and political space. The playwrights within the loyalist community often use traditional Chinese drama, which possesses inherent temporal and spatial qualities, as a medium, and they express their personal feelings of sorrow regarding the era and their attitudes toward the transitions from an old to a new dynasty or period through their characters. This study argues that time and space cannot be separated and must be viewed as an interconnected whole. Merely discussing the individual aspect of time or space is insufficient. In narrative literature, time and space intertwine to form events and plots, and analyzing their representation allows us to understand their significance in the works and can extend observations on social relationships and historical backgrounds.

This study focuses on textual analysis. Adopting the “loyalist” perspective, this study examines the various types of temporal and spatial representations used as part of the Chuanqi narrative techniques during the Ming–Qing transition, with the aim of summarizing the artistic characteristics. Additionally, the “loyalist consciousness” and zeitgeist perception that the playwrights revealed through their application of time- and space-related narrative techniques and patterns is explored.

The first part of this research draws on the concept of “Chronotope” to analyze the plot arrangement and symbolic significance of the “escape”-oriented plot in two Chuanqi plays, namely Li Yu’s “Qian Zhong Lu” and Zhu Zuo-Chao’s “Yu Jia Le,” and to determine how playwrights use temporal and spatial arrangements to convey hidden zeitgeist metaphors. The second part of the study focuses on Ding Yao-Kang’s “Hua Ren You” and “Chi Song You” and examines two distinct narrative strategies, namely the “spatialization of time” and “temporalization of space.” The study explores how the two elements of time and space can be paired with each other and manipulated to influence each other even when one of these two elements may be more apparent or concealed in specific parts of a play in order to discern the nostalgic sentiments that Ding expresses through narratives with temporal and spatial elements in these two plays. The third part of the study discusses a proposed temporal and spatial hypothesis based on the concept of “Place” and focuses on Wu Wei-Ye’s “Mo Ling Chun.” “Reality” and “imagination” are co-presented as temporal and spatial representations in this play, reflecting the individual choice and sense of belonging of the characters in the play concerning being an official or a recluse under the rule of a foreign ethnic group. The play goes beyond the traditional binary attitude concerning the end result of loyalists, presenting diverse elements and possibilities.