以儀式凝視創傷：乞巧文的基型、傳衍與敘事心理

Using Ceremony to Examine Trauma: The Genealogy of the Qiqiao Wen and the Question of Narrating the Psychological Self

乞巧是古代七夕舊俗，女子在夜晚趁牛女鵲橋相會，拜星乞願，以賜巧工，為秋時最熱鬧的歲俗活動，也逐漸進入文人詠寫視野。柳宗元首創〈乞巧文〉，引發讀者共鳴，歷代有文學傳衍，目前學界尚未出現全面通讀、梳理之研究成果，值得關注。本文以振源索流為主體，首先探討柳宗元〈乞巧文〉的形成與成型，題材方面，自然受到乞巧舊俗與乞巧詩影響，並繼承杜甫對世人乞巧的懷疑精神，文體方面，則是對揚雄〈逐貧賦〉的仿寫與創新。其次，探討柳宗元〈乞巧文〉的文學傳衍，揭明柳文「以文為戲」與「愚拙形象」的寫作特色，而後考察在此柳文理路基礎之上，歷代乞巧文的抒寫脈絡。乞巧文以禱詞文體摹寫世情，目的是抒情言志，從敘事心理角度來說，得以編織創傷記憶，重新框定自我。因此，乞巧文是文人抒放平臺，不求競勝，也不是遊戲，而是具有文學自療的作用，也彰顯了柳宗元〈乞巧文〉的典範意義。

Qiqiao was an important custom of the ancient Qixi festival, a prayer asking Zhinu, or the weaving girl, to bestow the abilities of excellent craftsmanship in weaving on the receiver. The Qiqiao ceremony took place during the autumn season at night, becoming the most lively popular ceremony of the season. Women would wait for the moment in which the Weaving-girl and Herd-boy cross the Magpie Bridge in order to express their prayers. Over time, there ceremony steadily became a major literary theme. Liu Zongyuan was the first to produce a powerful literary rendering of the ceremony in his Qiqiao Wen, generating significant interest among readers. Since then, later generations of writers have created a significant body of work. Since academic scholarship yet to come out with a comprehensive review and study of this literary tradition, it is most deserving of scholarly attention.
This project aims to compare and analyze Qiqiao-related articles by displaying a series of representative works from each era. It will first examine the formation of the Qiqiao ceremony as it is represented in Qiqiao Wen. It will examine the historical materials Liu Zongyuan drew on to form this portrait, which was influenced by old customs and poems surrounding the Qiqiao ceremony. Liu Zongyuan also inherited Du Fu’s skepticism regarding people’s use of the Qiqiao ceremony. In terms of the style of writing, Liu Zongyuan’s work is an imitation and a creative re-invention of Yang Xiong’s Zhupin fu. In examining the literary genealogy that emerges from Qiqiao Wen, one can illuminate the characteristics of Liu’s writing, prominent of which was “taking literature as a game” and the “figuration of folly.” This paper finds that the Qiqiao wen can be understood as a lyrical platform. However, later inheritors were not interested in literary competition or gamesmanship, but turned to the work in order to articulate trauma. Through the textual weaving of traumatic memories, and the diligent establishment of a renewed self, this kind of writing had a curative effect. This investigation thus highlights the paradigmatic significance of Liu Zongyuan.