同時閱讀蘇軾各種不同的文體

Reading Across Genre in the Literary Works of Su Shi

宋代文人與唐代文人差異之一是宋代作品的數量增多，而且文體種類更豐富，包括宋代新興的各種文體──題跋、游行、雜記、詞、尺牘等不能說在唐代完全沒有，但到了宋代才有把那些文體編入作家的文集或全集的習慣。在南宋時，因刻本技術的發展，刻印文人的別集或全集更普遍。這樣的情況讓我們有機會探討在宋代以前稀有的現象：一個作家採用兩三種不同的文體描寫同一件事情時，內容是否不同。這篇文章以蘇軾（1037-1101）為例，研究這一現象。做這樣的研究後我們也許對東坡有更深刻的了解，尤其對其詩作的常規與習慣有新穎的見解。

Transmitted literary works from the Song period outnumber by far those surviving from the Tang dynasty. The number of literary genres also increased, including a few that only became widespread in the Song. Such types of writing as colophons on art objects and collectibles, miscellaneous prose pieces, song lyrics, and informal notes or letters were produced in abundance. Unlike in the Tang, when such writings were few in number and often excluded from a writer's literary collection, during the Song these writings began to be included in literary collections or in a person's ''complete works.'' By the twelfth century, the printing of such collections became widespread, increasing dramatically the chances of transmission. The new abundance of different types of writing provides an opportunity to examine how a writer might have treated the same topic or event in multiple different literary genres (an opportunity rarely available in earlier periods). This article examines this phenomena in the writings of Su Shi 蘇軾. This approach allows us to refine our understanding of Su Shi's practice as a writer, illuminating the ways his choice of genre affects the nature of what gets expressed. Special attention is given here to the contrast between classical poetry (shi詩), the most prestigious form, and those of lesser standing.