是誰之悲？論高陽《李娃》之悲劇意識

Whose Tragedy is it? Study of Tragedy Consciousness in Yang Kao's Li Wa

「鄭元和／李亞仙」之愛情故事，自唐代〈一枝花〉話後，由白行簡《李娃傳》定型，並相繼成為小說、戲劇、曲藝之題材，其中又以明傳奇《繡襦記》為後世定本。然而經過不同時空之流播，各地改編之審美意識亦有所差異，不論是從唐代至元明，從中原到閩南泉州，再到臺灣歌仔冊與歷史小說，因不同的文化氛圍，使得作品產生「地域性」之變異。1964年，高陽第一部歷史小說《李娃》，突破以往李娃故事窠臼，一改過往團圓喜慶結局，為劇情增添歷史必然性之悲劇元素，然高陽《李娃》與前文本之悲劇意識、歷史想像有何不同？高陽如何重構唐代仕族形象與女性生存？本文將以高陽歷史小說《李娃》為探討文本，以「時代悲劇」為分析視角，探討面對經典「鄭元和／李亞仙」之文本改寫時，高陽如何突破舊有藩籬與經典窠臼，重新敘寫時代美學，讓「鄭／李」情事，成為歷史之悲劇篇章。

Love story of“Yuan-Ho Cheng／ Ya-Hsien Li”, after“One Flower”in Tang dynasty, was shaped by The Tale of Li Wa of Xing-Jian Bai which thus has become the material for the writers of fictions and drama. Lin Hsu's An Embroidered Robe, Chuanqi of Ming dynasty, was the finalized text for the following generations. Nevertheless, with continuous interpretation and prevalence of different times, the adapted plots in different places varied. From Tang dynasty to Yuan Ming, from Central Plains to Quanzhou, Minnan, and to Ge Zai Ce and historic fictions of Taiwan, in different cultural climates, the work is“regionally”different. In 1964, Yang Kao's first historical fiction, Li Wa, broke through the limitation of the past Li Wa story, changed the happy end and added the historical essential tragic element. However, whose tragedy is it? Hui Cheng? Li Wa? Li Lao? Or the tragedy of time? This study will focus on Yang Kao's historical fiction Li Wa as the text and from perspective of“tragedy of time”, it explores how Yang Kao broke through old limitation and revised the aesthetics of time in text revision of classical“Yuan-Ho Cheng／ Ya-Hsien Li”to result in final chapter of tragedy in the history by love story of“Ya-Hsien Li and Yuan-Ho Cheng／”.