依違於二元之間的中道和諧──張潮《幽夢影》創作模式下的精神內涵

The Unity and Harmony in a Contradiction -- the Mental Outlook Presented on the Creation of Dream Shadows by Chao Chang

晚明時期，小品文流行，這種創作風潮也影響到清初文人，張潮《幽夢影》作為晚明小品文在清初的繼承，從表面看是承襲晚明小品文特有的日常性與閒適性，然而張潮生活的時代畢竟是在傳統文化集大成的清初，是儒家的道德觀念全面復歸的大一統時期，每個時代都有契合該時代的主導觀念和文化主題，在吸納前代文化異質元素之後，重新改裝，從而取得融會統一的新形態，《幽夢影》即能展現明、清兩個不同時代的文化思想的碰撞與交匯，形成矛盾對立中的聯繫統一。本文擬從「依違於二元之間的中道和諧」的角度對《幽夢影》進行析論，以見其所反映當時文人的生活美學與人生哲思，並將之置於散文發展史上見其如何拓展傳統散文的美學空間。

In late Ming Dynasty, notebooks were so popular that they influenced the literati in the early Ching Dynasty. Dream Shadows, created by Chao Chang, was the succession to notebooks in the late Ming Dynasty. Seemingly, it followed the specific everydayness and comfort of notebooks in the late Ming Dynasty. However, Chao Chang was living in the feudal culture of Ching Dynasty, when Confucian morality was grandly unified. Each era presented the leading concept and cultural topic matching the time that it would integrate the previous cultural heterogeneity and rebuilds a new form. Dream Shadows could present the impact and connection of cultural thoughts between two different dynasties of Ming and Ching and create the unity in a contradiction. The aim of this study was to analyze the Dream Shadows from the aspect of “from a contradiction to the unity and harmony”, to inspect the life aesthetics and life examination of the literati at the time, and to realize how to expand the aesthetics of traditional prose for the development of prose.