試論韓愈墓誌銘的抒情性書寫

The study of the lyrical dimension of epitaphs from the works of Han Yu

本文探究作為應用文性質的墓誌銘書寫，受社會成規所要求的實用性影響，本質上不注重抒情性的發抒，但是韓愈還是以其獨特的表現方式與抒情語態，完成墓誌銘中抒情書寫的典範。在突破書寫套式的規範之外，排除了大部分的實用性書寫，使其更接近於哀祭文的書寫，而讓讀者感受到文章中的抒情性。這種抒情書寫，某方面被宋代的歐陽修承繼，但有了不同的轉化與調和。歐陽修以「敘交游」、「記感慨」的筆法，完成墓誌銘書寫中實用性與抒情性兼顧的書寫體例。這種抒情性書寫開拓了墓誌銘的表現方式，使墓誌銘這種極為實用性的應用文字，可以被納入抒情文學的傳統中來觀察其表現特質。一來可見出抒情精神的浸潤影響之深遠，二來更拓寬了抒情傳統的視域，也讓我們重新思考所謂的抒情精神如何擺盪在抒情性與實用性之間；形式與感情之間的交涉牽引等問題，這是研究抒情傳統所不能忽略的面向。 The thesis makes a thorough inquiry about the lyrical dimension of the epitaphs by the works of Han Yu. The epitaphs are defined to the pragmatic purposes that were formed by the common viewpoint in the established practice of Chinese traditional society. Basically, the epitaphs could hardly be accepted as the texts of lyrical literature. But by breaking through the rules conditioned by the traditional writings of epitaphs, Han Yu endowed the epitaphs with the lyric characteristic and initiated the paragon of the lyrical writings of epitaphical writing Tradition. The element out of pragmatic purposes was reduced to minimum level, and the lyrical epitaphs became more likely as lyrical as funeral orations. Ou-Yang Hsiu, the Sung Dynasty’ litterateur, inherited the type of writing skill and fulfilled the style of writing structure which constituted the balance between pragmatic purposes and lyrical dimension. Besides pragmatic contents, the writing style composed the depiction about recording the friendship among existences of the poets and expressing the sighs with emotion. The depiction could touch the readers and the pragmatic contents still match the demand of the established practice of Chinese society. Thus, the lyrical dimension expanded the sphere of the epitaphs and broke through the rules conditioned by the traditional writings of epitaphs; therefore we could research the lyrical dimension of the epitaphs in the points of view of the lyrical traditional. We could not ignore the texts of epitaphs when we try to establish the theory of the lyrical traditional.