明末清初落難女子題詩與文人託喻：論丁耀亢《西湖扇》的寓意寫生

The Use of Captive Women's Poems as Metaphors for Literati's Situations: A Discussion of the Implications in Ding Yaokang's Xi Hu Shan

10.6257/JOTS.201807_(22).001

林智莉(Zhi-li LIN)

丁耀亢 ； 西湖扇 ； 明清傳奇 ； 遺民情懷 ； 題壁詩 ； Ding Yaokang ； Xi Hu Shan ； Ming-Qing tales ； adherents' feelings ； poems inscribed on walls

戲劇研究

22期（2018 / 07 / 01）

1 - 33

繁體中文

丁耀亢《西湖扇》寫於清順治十年（1653）清兵入關後，烽火稍息之際。本事源自兩首戰亂期間遭擄北上落難女子題壁詩：一為南明宮女宋蕙湘題於汲縣之詩；一為西湖女妓宋娟題於清風店之詩，兩詩皆披露落難被擄、慘遭凌辱、期待救贖之悲痛心境。宋蕙湘一事文壇流傳尤廣，文人和詩者多，丁耀亢為據以寫劇第一人。寫作目的據其子丁慎行〈重刻《西湖扇傳奇》始末〉所言，為石渠先生求丁耀亢借題說法，使有情人終成眷屬。湖上鷗吏〈西湖扇敘〉則說是作者欲令觀者知絕世才媛遭時不遇之事，以為天下憐才者一澆塊壘。細繹《西湖扇》，除寫烽火才子佳人悲歡離合故事外，另虛構陳道東一角隨劇始末，為作者身處異朝的游移矛盾發聲。故事結局雖圓滿，作者卻以「王嬙不返仍青冢，蔡琰重歸已白頭」為結，寄寓一己之政治立場與抉擇及對時間流逝下自我定位的焦慮。明末清初女子落難與文人落難處於同一時空背景卻有不同處境與困頓，男性作家往往透過不同性別視野，賦予女子落難題詩新的詮釋與論述。本文擬以《西湖扇》為例，探究丁耀亢如何透過虛實交錯、意象轉替及多重視角，藉劇作演繹戰火下才子佳人之遭遇，並託寓一己或當代普遍文人之情感。

Xi Hu Shan (West Lake Fan) was written by Ding Yaokang in the 10^(th) year of the rule of Qing Emperor Shunzhi (1653) after Manchu troops had forced their way into China. The story originated from two poems inscribed on walls by two women held captive by the north during wartime. One was written by a palace maid of the Southern Ming dynasty, Song Huixian, in Ji County, and the other was written by a prostitute at West Lake, Song Juan, on a wall in Qing Feng Dian. Both poems conveyed the two women's misery in being held captive and abused, and their longing for rescue. Ding Yaokang was the first person to adapt the poems into a play. Ding Yaokang's son Ding Shenxing explained in A Full Account of the Creation of Xi Hu Shan Tale that Ding Yaokang was asked by Mr. Shi Qu to write the story, in which those in love could be united in wedlock. However, Hushang Ouli expounded in The Narration of Xi Hu Shan that Ding Yaokang had made known the misfortune of talented scholars and fine ladies during wartime to ease readers' grievances. A close reading of Xi Hu Shan reveals the fact that in addition to the joys and sorrows of the tragic lovers in troubled times, Ding Yaokang created a fictitious character Chen Daodong to speak for his own awkwardness of living under the rule of a foreign power. Although the story came with a satisfactory ending, the author used Wang Zhaojun's eventual death in a foreign land and Tsai Yan's returning to her Han Chinese homeland only after she grew old to imply his own political stance and choice as well as his anxiety for self-identity through the passage of time. During the late Ming and early Qing dynasties, while living at the same time period, captive women and ill-fated literati encountered different types of misfortune. By adapting their experiences through the viewpoints of a different gender, the male writers brought new discussions and interpretations to poems written by the captive women. This study takes Xi Hu Shan as an example to explore how Ding Yaokang used both fictitious stories and true events, metonymies, and multiple perspectives to adapt the misfortune of captive women in wartime into a play to symbolize his own frame of mind or that of the literati in general at that time.

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