從〈神女賦〉到〈洛神賦〉――女神書寫的創造、模擬與轉化

From “Fu on the Goddess” to “Luo River Goddess”: the Creation, Mimesis and Transformation of the Goddess in Writing

宋玉〈神女賦〉為辭賦史上書寫女神的創始之作，其後漢魏六朝文人競相模擬，唯曹植（192-232）〈洛神賦〉足以與之抗衡。本文從文學創作與神話探源雙重視角，分析〈神女賦〉女神書寫的原創表現，其看似繁複的女神形塑實有神話底蘊，呈顯巫山神女愛與美之神的神格，而其看似朦朧曖昧的邂逅女神情境，亦是消解成見與欲望，如實面對生命全相的一場考驗。曹植〈洛神賦〉乃「感宋玉對楚王神女之事」而作，其女神形塑與邂逅女神情境於〈神女賦〉皆有所模擬，然透過書寫立場的轉變，於創作同時曹植亦親歷女神所帶來的試煉，在愛悅、疑懼、逃避、迷惘、重尋、省思的轉折過程中，女神引領曹植完成生命劇變中的一次內在抉擇，超脫成敗得失，無論幸與不幸，唯以不變的純真與愛，成就其存在意義。

Song Yu's 'Fu on the Goddess' was a work that pioneered the use of fu-writing on 'goddess.' Of the dramatic increase in the number of literary pastiches of Song Yu's during the Han, Wei and Six Dynasties, Cao Zhi's (192-232) 'Luo River Goddess' was the only comparable work. This paper analyses the écriture of goddess in the 'Fu on the Goddess' from the perspectives of literature and myth. Although the goddess' image seems complex, she actually has antecedents in ancient myths who represent the goddess of Mount Wu who was characterized by love and beauty. The narrator's poetic and ambiguous encounter with the goddess works as a counterbalance to prejudice and desire and a test of his ability to take on reality of life. Cao Zhi claimed that he was moved by the romance narrated by Song Yu. Cao's description of the goddess and the encounter itself both are imitation of Song Yu's fu. However, by changing the perspectives, Cao Zhi experienced the trial brought by Luo River Goddess during his course of writing. Experiencing the feelings of joyous live, apprehension, escape, confusion, re-invention and reflection, Cao Zhi learned to free himself from the importance of outcomes, and make a decision during the turning point of his life.