論杜甫詩中倫理失序的邊緣女性

An Essay on Women without Man in Tu Fu's Poetry

本文處理杜甫詩中處於倫理失序狀態的邊緣女性形象，包括寡妻獨婦與歌妓舞孃等種種「不得為人之妻者」。她們雖有家內家外之分與社會階層上的良賤之別，卻都屬於「沒有男人的女性」（Women without men）而被憐憫被異視的特殊類型。寡妻獨婦中，除了「思婦」主要是就其貞潔純一的情感著墨外，其他包括女戶、孀婦、棄婦等都涉及攸關生計的經濟困境，即使越界進入家外之男性勞動領域以求糊口，也注定與貧窮不幸相因果；尤其是雄化之女戶，更因為性角色的錯置連帶地衝擊並破壞了其應有的性氣質，並導致其性地位的惡化，成為雙性苦難的匯集者，厥為杜詩中最為特殊的邊緣女性類型，也由之開拓了詩史上這類題材的寫作。至於家外的青樓女妓則以高度的情色誘惑力，被視為侵蝕倫常綱紀的潛在危機，詩人抱以既迎還拒的矛盾態度，一方面在豁免倫理顧忌的情況下，以眾多豔筆縱情於女性感官書寫，質量皆超勝於其他邊緣女性的寫實表現；一方面則在道德壓力的約束下，以個人的身世感、回憶的虛構性、盛世的大力量加以平衡、壓抑、甚至抵銷，而杜詩中的「佳人」一詞也就成為德∕美、貞∕淫複合的特殊女性符碼。總而觀之，女性的倫理定位被視為時代治亂的指標。

This article analyzes the images of boundary women in Tu Fu’ poetry: those females outside the ethic order including widows, lonely wives and “artist-prostitutes”. While some of these figures belong to a “home”, others do not; also some belong to high social statuses, while others are in low ones. Nontheless, despite of these differences, they are all pitied and discriminated as women without man. Widows and lonely wives are mainly put in the perspective of economic distress. On the other hand, prostitutes are mainly deemed as potential danger to the Confusian ethic due to their sexual attractiveness. Tu Fu portrayed them in an ambiguous attitude, portraying their sensual beauty on the one hand and suppressing them with moral constraints on the other hand. Last, a forsaken beauty is projected to be the ideal embodying both beauty and virtue. To sum up, the boundary female figures are located and evaluated according to family ethics. Indeed, whether women are ethically well positioned is deemed as an index of the good or bad order of politics and civilization.