夏侯湛〈東方朔畫贊並序〉之文體創變與自我投射

The Stylistic Innovation and Self-Projection of Dongfang-Shuo HuaZan of Xiahou-Zhan

在〈東方朔畫贊〉在贊序部分，夏侯湛以虛筆對《漢書》的實筆進行了生動而有新意的文本改寫，並且〈畫贊〉序與贊之文本有著很強的文本互涉性。並且贊文的前三段，主要與贊序之第二、四段相呼應，後三段則承繼贊序之第六段而進一步敷衍韻語，進行文本改寫與抒情。以上兩個層次的文本互涉，也呈現文體轉換中的「檃括」手法，對於文體修辭筆法之豐富，頗見開創之功。文體學視野下，夏侯湛之〈東方朔畫贊〉有三大開創：首先夏侯湛突破了漢末畫贊「動鑒得失」的政教功能，敘述重點顯然已經脫離畫像本身，已然被注入了豐富個人文學化的抒情性。其次則其韻語的大幅增長，至五次換韻，這與漢末至魏晉，頌、贊逐漸混同有關。再次則〈畫贊〉是首篇有著明顯「序、贊照應」的贊體文，筆者認為這來源於贊體與碑體的互涉，可能受以蔡邕為代表的碑文寫法中「碑銘文本互涉」的影響。〈東方朔畫贊〉開創性的文體變格對六朝贊體寫作產生了深遠影響。藉助夏侯湛的〈抵疑〉，發現夏侯湛在寫作〈畫贊〉時，將自身在朝不遇處境、充滿才能而又剛直的形象，投射在「朝隱」的東方朔身上，從而進行精神上的自我療愈與砥礪。同時推測〈東方朔畫贊〉之創作時間很可能與〈抵疑〉相近。

In the preface of “Dongfang-Shuo HuaZan”, Xiahou-Zhan made a vivid and innovative textual rewriting of “Hanshu”. At the same time, there is a strong intertextual relationship between the preface and verse of “Dongfang-Shuo HuaZan”. The first three paragraphs of the verse mainly echo the second and fourth paragraphs of the preface; the last three paragraphs inherit the sixth paragraph of the preface and further deduce, rewriting and lyricizing the text. The interrelatedness of the texts at the above two levels also presents the “YinGua”檃括technique in the stylistic transformation. From the perspective of stylistics, Xiahou-Zhan's “Dongfang-Shuo HuaZan” has three major innovations: Firstly, Xiahou-zhan broke through the function of HuaZan in the late Han Dynasty to “reflect political gains and losses”. The focus of the narrative had obviously been separated from the portrait itself, and has injected rich lyricism of personal literature. Secondly, HuaZan's rhyme grew substantially and changed rhymes five times. This is related to the gradual confusion between the styles of “Song” and “Zan” from the end of the Han Dynasty to the Wei to the Jin Dynasties. Thirdly, “HuaZan” is the first Zan 贊 prose with an obvious “preface and praise intertextuality”. The author believes that this was due to the mutual involvement of the Zan and the Bei 碑, which may be influenced by the “intertextuality of Bei and Ming 碑銘” in the writing method of inscriptions represented by Cai Yong. The pioneering stylistic variation of HuaZan had a profound impact on the writing of the six dynasties. With the help of Xiahou-Zhan's “Di Yi”, it is found that when Xiahou-Zhan wrote “Dongfang-Shuo HuaZan”, he projected the image of himself, full of talents and uprightness, on Dongfang Shuo who was “ reclusive in the court”, to carry out spiritual self-healing and tempering. At the same time, it is speculated that the creation time of “Dongfang Shuo Painting Praise” is likely to be similar to that of “Di Yi”