山水、玄理、記憶銘刻：東晉王羲之等「蘭亭作品」試探

Landscape, Mystery, and the Inscription of Memory: A　Study of　the Lanting Works in the Eastern Jin Dynasty

王羲之（303-361）的〈蘭亭集序〉以及〈蘭亭詩〉具體展現了晉人的山水遊賞與深情之美，歷來多受討論，但許多討論多關注〈蘭亭集序〉或某幾首著名蘭亭詩作上，而忽略這個集會中產生的集體文本。本文試圖透過「互文性」（intertextuality）觀點來閱讀、重構蘭亭作品，同時結合「清談」、「同題共作」等魏晉時期的文學文化風尚，對這批作品進行多層次的理解。文章指出蘭亭修禊共有41人與會，留有作品37首，此次集會相當程度是仿擬著石崇的金谷集會，當時集會是以各賦四言、五言一首為常態，若以此重新排列蘭亭詩歌，可分為四言四句、四言八句、五言四句、五言八句以及〈序〉與〈後序〉等五組，彼此間是環繞著相同的主題進行對話。四句式是就「濠梁之辨」與「許由洗耳」的道家論題開展，而八句式則是以「曾點舞雩」的儒家論題和上述的道家論題為主，內容觸及了東晉時人所關心的出處、樂、知音等問題。而蘭亭作品中相當程度表現了支道林「即色遊玄」的思維，詩人們希望透過山水之遊來消散內心的鬱結，讓心保持在一個「玄心（無）」的狀態，以此玄悟方式來化解生命的焦慮，同時期的孫綽（314-371）〈遊天台山賦〉也顯示類似的歷程，呈現出蘭亭集團共同的思維模式。最後則從對話與閱讀的角度理解王羲之〈序〉與孫綽〈後序〉的關係，羲之試圖透過一種銘刻—— 「文學不朽」的方式來召喚歷史共感（閱讀興懷），以期自我拯救，化解生死焦慮，而孫綽的觀點則開啟了另一個「閱讀釋懷」的向度，「閱讀」隱然也是一種遊歷，如同書寫的治療功能，每次閱讀即是蘭亭之遊的一種複現，如此便何須有生命的焦慮呢。

 

Wang Xizhi’s "Preface to the Lanting Collection" and the "Lanting　poems" manifest the deeply felt appreciation of landscape for which the Jin Dynasty is well known. However, many discussions have focused on the preface or on a few famous Lanting poems, ignoring the collective texts produced in this gathering. This article attempts to read and reconstruct the Lanting works through the viewpoint of "intertextuality". At the same time, it combines literary and cultural trends of the Wei and Jin dynasties, such as "pure conversation" and "composition on common topics", to understand the works on multiple levels.

The article points out that a total of 41 people participated in the Lanting gathering, composing 37 poems. The Lanting works can be divided into five groups: four-syllable poems of four lines each, four-syllable poems of eight lines, five-syllable poems of four lines, five-syllable poems of eight lines, and the two prefaces. Compositions in these groups converse with each other around certain themes, such as the Daoist topics of "debate at the bridge on the Hao River" and "Xu You washes his ears", or the Confucian theme of "Zeng Dian and rainmaking rituals". The poetry reflects Eastern Jin concerns like the choice between service and reclusion, pleasure, and friendship, and expresses Zhi Daolin’s idea of "keeping the mysterious in the phenomenal world". The poets hope to dissipate the anxiety of life through the visualization of landscape, and to keep the heart in a state of "mystery" or "nothingness".

In the end, I discuss the relationship between the prefaces of Wang Xizhi and Sun Chuo. Wang Xizhi tried to summon a shared sense of history, of "reading stirring deep feeling", through an inscription of "literary immortality", in order to resolve the anxiety of life and death. Sun Chuo’s point of view opens another dimension, of "reading releases deep feeling". "Reading" is also a kind of travel, just like the healing function of writing. When every reading is a kind of recurrence of the outing at Lanting, why should life be anxious?