論歐陽脩「韓、孟之戲」與梅堯臣的自我認同

A Discussion of Ouyang Xiu's “Han Yu and Meng Jiao's Discourse＂ and Mei Yaochen's Self-identity

自宋代開始，人們已開始討論並建構歐、梅與韓、孟的對應關係，賦予不同角度的詮釋。當歐陽脩晚年回顧與梅堯臣的詩歌交往時，也提到自己與梅堯臣和韓愈、孟郊的對應關係，並以「韓、孟之戲」一語來表述彼此的互動歷程。此一對應關係，既是一值得深入的詩學話題，也觸及宋人在進行自我認同時，所反映的社會文化行為。因此，當我們要探究韓、孟之於歐、梅的意義及由此衍生的詩學觀念時，就不能不將此一議題放置在詩歌互動的社會場域中，從歐、梅實際的社會交往、意見交鋒來理解這一互相詮釋、彼此認同的變遷發展，從而闡釋歐、梅的詩學選擇與社會交往的複雜涵義。因此，本文將特別重視歐、梅交往中的相互認同與自我觀念的辯證、互動，通過二人對韓、孟歷時性的討論與對話，呈現出詩人面向自我、歷史與社會關係的存在感受與詩學傾向，期在前行研究的基礎上，對詩史中「韓、孟∕歐、梅」的對應關係與內涵，提供一較為完整而客觀的詮釋面向。

This paper investigates Ouyang Xiu and Mei Yaochen's treatment of Han Yu and Meng Jiao from the perspective of Sociology. One of the aims of this article is to analyze the meaning of the discussion about Han Yu and Meng Jiao that occurred between Ouyang Xiu and Mei Yaochen. From the perspective of social interaction, self is inherently social and the concept of self is constructed through activities of recognition. In other words, these discussions not only concern poetics, but also self-identity. This perspective can clarify the complicated understanding of activities that involve interactions between the literary canon and the self-identities of the later poet. We can discover that the relationship between the previous poet and later poet is a dialectical development. Therefore, “Han Yu and Meng Jiao” is a symbol of self-identity under the interaction of internal and external identity in Ouyang Xiu and Mei Yaochen's discussion. This theoretical framework may provide us with a new starting point for exploring “self-identity” in Song poetry.