斷片、重組與追述──夢窗詞的回憶書寫

Fragments, recollection, and narratives- A study on the memories of Wu Wenyin’s Ci lyrics

本文著眼於夢窗詞的回憶書寫形式，首先觀察夢窗執著於回憶敘寫之緣由，實源於其輾轉不定的清客經歷，需藉由回憶寫作填補詞人生命定著處的缺席。其次，夢窗詞的情愛記憶多是經由感官經驗所觸發的抒情聯想，如鞦韆、纖手與香氣等，在反覆的記述中，記憶中的女子形象與場景即為固定。並且，相較於他人多以紅綠描寫回憶色澤，夢窗詞的回憶則幾乎不帶顏色，而是以具體的景象陳列。接著由景語與詞組兩種表現型態觀察回憶斷片的鋪陳概況。並論及典故與代字與抒情經驗濃縮的關聯，以彰顯抒情自我的凝定處與抒情意義的再製可能。以為詞人將抒情自我投射至回憶斷片所表出的意象，並賦予抒情意涵的思致安排，既是文人抒情意識的展現，亦是向來持抒情理論者所為南宋詞的深邃處所在。

This article focused on the lyrical expression about the memories in Wu Wenying’s Ci memory works. First of all, the reason why Wu Wenying is obsessed with reminiscence is actually due to his wandering and unsettled experience. Therefore, it is necessary for him to fill in the absence of his life through recollection and writing. Secondly, the fragmented images, such as swings or delicate hands, appear repeatedly in Wu Wenying‘s Ci works. It is a memory display that is framed by the narration of the individual lyrical experience triggered by sensory impressions. Furthermore, compared to other people's description towards the color of memories in red and green, the memories of Wu Wenying are almost no color, but displayed in specific scenes. Fragments, as the concentration of lyrical experience, could be divided into two parts scenic phrases and narrative phrases according to their forms of expression. Through the use of allusions and pronouns, we can also observe the poet’s lyrical self and the reproduction of lyricism. It is believed that the process of placing the poet’s subjectivity to the fragments and giving it lyrical interpretation is the profoundness of Southern Song poetry.