呈現「孝道」──以「丁蘭刻木事親」敘事為中心的一種考察

Presenting “Filiality＂: “Ding Lan Carved Wood to Worship Parents＂ as an Observation for the Change of Narrative Description

丁蘭刻木事親的故事，為中國古代著名的「二十四孝」之一。在宋代以後所流傳的故事中，多敘述丁蘭因幼喪父母，未得奉養，而思念劬勞之恩，刻木為像，事之如生。其妻久而不敬，以針戲刺其指出血，丁蘭返家後見木像垂淚，問得其情，將妻出棄之。然而，從近一世紀以來出土的考古材料以及海外流傳的古佚《孝子傳》可發現，在早期的說法中，丁蘭所刻木像初為父親而非母親，而對木像不敬的亦非其妻，最後，丁蘭對不敬木像者的懲罰則為殺仇取其頭以祭父。而經細考，相關說法的形成實與漢代社會重視且提倡血親復仇的觀念有關。至於相關敘事後來轉變的原因，一方面可能與唐代以後由於國家法律制度的建立與完善，不再容許血親復仇的行為存在之法令制度有關；另一方面則可能也受到宋代以後女性地位下降之社會氛圍影響，因而導致元代郭居敬在編寫《全相二十四孝詩選》時，選擇以其妻作為「不孝」的代罪羔羊，並延續至今。本文以「知識考古」的方法，通過對「丁蘭刻木事親」敘事的傳承與變衍之脈絡梳理，以為作為一種宣揚道德思想、啟蒙教化的「話語」，其情節、內容，甚至結局，往往受到各個歷史、社會階段對相關「知識」的理解與詮釋等各種主、客觀因素所制約與作用。然相關的敘事內容，卻正可作為我們考察不同時期社會政治與文化發展需要的另一重要文本。

The story of Ding Lan carving wood to worship his parents is one of the stories in the twenty-four filial exemplars. After Song Dynasty, the storyline were found to describe how Ding Lan lost his parents at an early age and therefore he had to carve the wood statues for memorizing and worshipping. His wife disrespected it and pricked the fingers of the wooden statue with a needle, causing the fingers to bleed. When Ding came home and found the statues were in tears, he asked for the truth and later expelled his wife. However, according to the recent version of Filial Exemplars from archaeological sources and oversea sources, which was discovered and released in this century, we could tell that the wooded statue in earlier version was Ding's father rather than his mother. The one disrespected the statue was not Ding's wife but someone else. In the end of the story, Ding killed the disrespected person and took his head to worship his mother. This is highly related to the idea and promotion of blood revenge in Han Dynasty. This idea and the narrative description had changed in Tang Dynasty as the establishment and completeness of law and/or relevant systems had changed to forbid blood revenge. On the other hand, the downgraded social status of women may also be another reason that Jujing Guo, a Yuan Dynasty writer, decided to make Ding's wife as the scapegoat of “the unfilial” when he was editing Twenty-four Poems of Filial Piety. This version was then passed down till today and hence became the general accepted version. With the method of “archaeology of knowledge,” this study aims to discuss the heritage and change of narrative description through Ding Lan's story. The story itself has been used as a morality promotion or teaching words. Its storyline, plot and even the ending were often influenced by different history and social interpretation of “knowledge.” This feature can be thus used as a significant text for social, political and cultural observation in different times.