「三藩之亂」與嵇永仁獄中詩歌中的歷史再現――兼及「詩史」書寫倫理之反思

“Revolt of the Three Feudatories”and Historical Representation in Ji Yongren’s (1637-1676) Poems from Prison: Reflections on the Theory of“Poetic History”

嵇永仁是「三藩之亂」的死難者。學界以往主要關注嵇永仁的戲曲創作，至於其獄中所作詩歌《吉吉吟》、《百苦吟》的文學、文化史意義，尚論之未詳，有待進一步抉發。在勾稽嵇永仁的書寫自覺之基礎上，本文嘗試將其獄中所作詩歌置於「詩史」傳統加以考察，指出詩人的獄中經驗不僅成為詩歌的創作素材和摹寫對象，更使其發展出一套以污穢、不潔、鄙陋為核心的詩歌美學。此一迥異於傳統詩學的美學風格，由於嵇永仁諸子陷獄經歷的「公共性」，因而得到儒家價值觀念容納，成為「詩史」理論的特殊實踐。其後，本文參照詩歌以外其他有關其獄中生活的記載，進而通過考察諸子詩歌再現的視聽感官經驗、獄中持續進行的唱和活動，討論詩人如何對特定經驗單元加以截取與重組，並由此反思「詩史」的書寫倫理問題。本文認為，嵇永仁獄中詩歌反映「詩史」的新變，也充分體現「詩」與「史」的糾葛，以及文學與美學、倫理學之間的協商。

Ji Yongren嵇永仁was a victim of the“Revolt of the Three Feudatories.”Previous scholarly focus has primarily been on Ji’s plays, leaving the literary and cultural significance of his prison poetry, specifically the poetry collections“The Chant of Jiji”(Jiji yin吉吉吟) and“The Chant of a Hundred Sorrows”(Baiku yin百苦吟), largely unexplored. Based on an examination of Ji’s writing concepts and environment, this article attempts to explore his prison poetry within the context of the tradition of“Poetic History”(Shishi詩史). It argues that the poet’s experience in prison not only becomes a source of creative material and subject matter, but also that it leads to the development of a poetic aesthetic characterized by filth, impurity, and vulgarity. Despite this aesthetic style being distinct from that found in traditional poetics, due to the public significance of Ji and others’shared prison experience, it paradoxically came to be embraced within the Confucian value system, becoming a unique practice within the realm of“Poetic History”theory. Drawing on accounts of Ji’s prison life beyond his poetry, this article