世變、文人、隱喻－－元雜劇《王粲登樓》的視界

The Metaphor of the Literati during the Song-Jin-Yuan Transition: Wang Can Denglou as a Case Study

本文透過對元雜劇經典之一《王粲登樓》的分析，討論以下幾個課題：首先，若從文學意象與歷史氛圍的角度切入，可發現金元時期文學中的「王粲用典」，已帶有濃厚的時代特徵；「登樓王粲」成為貼近此時文人自身處境的「隱喻」，及文人群體的代表圖像。其次，作家鄭光祖挑選此劇編創，有其映照自身的深意；劇中情節的「曲解」，不能單以「襲套」、「幻夢」視之，而應視為作家重重掩蓋、幾番曲折之下的「隱喻發揮」，藉機表達他對於「異族入主」的看法。其三，面對文學上的「舊經典」〈登樓賦〉，作家以「轉化」與「轉釋」之改寫手法，開發「曲／劇」此一新興文體的表現高度，創造「新經典」。最後，透過此劇結尾的舞臺指示─「散場」，窺見元劇作家兼顧「雅俗」的用心。

This paper concentrates on the Yuan dynasty zaju 雜劇 Wang Can denglou 王粲登樓, arguably one of the most typical and representative of the Yuan “literati plays.” The subject of the play, the pursuit of an official career and the frustration of trying to obtain a proper rank, is undoubtedly inherited from the literati tradition, but was rewritten in a new genre, the qu 曲, by playwright Zheng Guangzu 鄭光祖 (fl.1300). Zheng adapted the classic Denglou fu 登樓賦 to create a totally new kind of narration; furthermore role-playing, which is essential to the qu, changed the lyric nature of the original fu. Through a somewhat distorted depiction of Wang Can’s 王粲 life, the author portrays a social milieu that was responsible for the uncontrollable and unpredictable destiny of Yuan literati. By comparing the questionable relationships among characters in the play with historical records, and by examining the plot reversal as well as the restoration of the final reunion, I argue that ambiguous as it is, this play gives us a glimpse of the author’s discontent with Mongol rule, wrapped in a well-known historical story as well as an old literary tradition. In this respect, the new genre that Zheng took up became a medium not only perfect for actors to perform on the stage, but also ideal for “performing” experiments with new forms in which to express his political ideas and the frustration of the literati.