想「象」──重讀張衡〈思玄賦〉

Pondering Images: Rereading Zhang Heng's ＂Sixuan fu＂

神遊文學始於屈原，屈子基於生命的困惑而在作品中展開神遊，種種深刻的心靈掙扎就在遊歷的過程中表現出來，從此開啟因憂而遊的創作系譜，東漢張衡〈思玄賦〉正是承繼神遊主題的重要作品。屈原〈離騷〉與張衡〈思玄賦〉這兩篇辭賦長文在結構與詞彙上頗多相似之處，過去已有學者發現二文的貌合神離，本文則嘗試從空間角度重新解讀〈思玄賦〉，探討張衡為何在接近權力核心的侍中職務上渴望遠遊，進而分析他的神遊空間圖像與〈離騷〉、〈遠遊〉有何異同。本文指出：相較於〈離騷〉的宇宙柱型、〈遠遊〉的大四方型，〈思玄賦〉的神遊空間呈現環型；而環型乃宇宙時空的視覺形象，源於南陽盛行的天文壁畫以及東漢銅鏡、博局器物。此外，〈思玄賦〉神遊的過程，從群山到天際，正衍繹「天山遯」的卦象。賦家在神遊過程中還挪用遊仙文學的元素來表達反遊仙的立場，嫁接苑獵散體大賦的筆法表達反小人、憂國勢的關懷，最終藉由環形宇宙與卦象兩種「象」的模擬、思辨，找到自處之道。

The earliest work on the theme of spiritual travel is Qu Yuan's 屈原 ＂Lisao＂ 離騷. In this poem, Qu recounts his imaginary journey through the heavens, which he began because of his confusion about life, and in which he relates the struggles with expectations, melancholy, and resentment that he faced during his journey. Qu's work initiated the literary tradition of a poet taking an imaginary spiritual journey because of his anxieties. Zhang Heng's 張衡 ＂Sixuan fu＂ 思玄賦 (Fu on Pondering the Mysterious), which dates from the Eastern Han dynasty, is an important work in this tradition. While there are many obvious similarities between Qu's ＂Lisao＂ and Zhang's ＂Sixuan fu,＂ especially with respect to structure and phraseology, some scholars have also pointed out important differences between the two works. This study reinterprets the ＂Sixuan fu＂ from a spatial perspective. First, it discusses why Zhang was eager to embark on a distant journey even though he served as shizhong 侍中, a position close to the center of power. It moreover analyzes the similarities and differences between his view of space and those found in the ＂Lisao＂ and the ＂Yuanyou＂ 遠遊. It demonstrates that the travel route delineated in the ＂Sixuan fu＂ was a ring-shaped cycle, which differed from the column-centered route of the ＂Lisao＂ and the cross-shaped route of the ＂Yuanyou.＂ The ring shape was a symbol of space and time in the Han 漢 dynasty, a visual image that originated in the wall paintings on celestial phenomena situated in Nanyang 南陽 and the bronze mirrors and Liubo 六博 game boards of the Eastern Han 東漢 dynasty. The course of the journey described in the ＂Sixuan fu,＂ from the mountains to the sky, symbolizes the six stacked horizontal lines of the hexagram Dun 遯卦. In addition to using elements from immortality literature to demonstrate his anti-immortality stance, Zhang also employs the techniques of grand fu 賦 poetry to denounce despicable people and express his concern for the state. Finally, via his pondering over two kinds of images, the ring-shaped universe and the hexagrams, Zhang finds a way to remain unperturbed and to determine the proper attitude toward life.