服飾與禮儀：〈離騷〉的服飾中心說

Attire and Ritual in “Li-sao”

對於屈原〈離騷〉的研究，歷來已多注意衣飾的重要性，本篇則從《山海經》等說明「服」、「初服」、「非世俗之所服」的服字用例，就是服飾、服佩的意義。而在各種香草象徵服飾的藝術手法中，廣泛引用文獻及出土文物證明當時楚人的服佩習慣，確有被衣、帶劍、佩珠及戴高冠的君子之服。屈原採用香草服飾隱喻其修習才德，在此提出凡經三變的三階段說：即初服、成年入仕之服及昇天的巫者之服，分別象徵不同階段的禮儀及祭儀服飾。並從文脈證明「好修」一詞為一篇的綱領，象徵屈原對於美與善的堅持。因此提出「不變」為其主題，用以對照「變」，本研究認為屈原使用香草的變質以隱喻小人的變節，這種諷諭手法對於子蘭、子椒的諷刺，乃與當時楚國王室以香草命名的習慣有關。故綜合相關論證，嘗試從「常與非常」的服飾思維，提出〈離騷〉的服飾中心說。

Previous study of Ch'u Yuan's “Li-sao” already recognized the significance of attire. This paper takes Shan-hai-ching and other sources as examples to explicate that fu, ch'u-fu and the unworldly fu all refer to men's attire. It has been proved by historical documents and archaeological artifacts that, among the various artistic techniques of symbolizing men's attire by fragrant grass, the Ch'u people in Ch'u Yuan's time did have the habit of wearing fine apparel, swords, precious stones and high top hats which represented the attire of a gentleman. To explain how Ch'u Yuan employed images of fragrant grass attire as metaphors for self-cultivation, this paper proposes a theory of three stages, or three changes, which are the novice's attire (ch'u-fu), the adult's official attire, and the shaman's attire of ascending to heaven, to symbolize attire for ritual ceremony and memorial ceremony in different stages. The author argues that the term “hao-hsiu” (refined cultivation) is the motif of “Li-sao” which symbolizes Ch'u Yuan's insistence on goodness and beauty. As a contrast to “change,” “constancy” is indeed the theme of “Li-sao”. The fact that Ch'u Yuan employed the changes of fragrant grass as a metaphor for inferior men's moral repentance, to satirize Tzu-lan and Tzu-chiao, is related to the tradition of naming of the Ch'u royal family with names of fragrant grass. By way of the “constancy” and “inconstancy” of the attire theory and other related arguments, the author concludes that attire is the core of “Li-sao.”