變局與結局：朱祖謀宫體組詞的文本内外

Changing Situation and Ending Situation: The Interior and Exterior of the Texts of the Palace-style Suite Ci-Poetry by Zhu Zumou

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

彊村老人朱祖謀晚年所撰聯章組詞《鷓鴣天·廣元裕之宫體八首》，緣起於他與宣統帝溥儀移宫之後的會面。這組作品以“宫體”爲面相，圍繞溥儀展開，牽涉清季以來一系列重大歷史記録，是朱祖謀在亂離世變中爲“詞史”結局的代表作。與元好問的八首原作相比，彊村詞採用客觀性視角，字面紧扣“宫中”，其手法是對宫體傳統的回歸，而非突破，但正是這種形式收縮，拓展出文本意義空間，帶來了全新的藝術張力。從詞作本事來看，組詞中不少篇章都具有多義維度，尤以第三首最爲典型，體現出基於“歷史真實”之上的“文學真實”，這是特定寫作技藝、特殊時世風雲共同造就的效果，一定程度上也是舊派遺老群體“記憶場域”的表征。根據手稿本《彊村語業》，分析《鷓鴣天》八首的修訂改動細節，再結合組詞與同時代其他作者的互文現象，可以發現其中既有群體記憶痕跡，也藴含著彊村的個人持守，誠爲其畢生大節所在。置於明末以來三百年“詞史”書寫的進程中去考察，則更能見出這組《鷓鴣天》聯章詞的集大成意義。

In his later years, Zu Zumou (1851-1931), also known by his sobriquet Elder of Qiangcun, created a suite of ci-poems entitled “Eight Poems Enlarging the Ones by Yuanzhi Written in Palace Style, to the Tune of Zhegutian.” The settings of these poems were his meetings with Puyi, Emperor Xuantong (r. 1909-1912), after the latter’s relocation from the imperial palace. This suite of works is apparently “palace-style” with Puyi as its center, but describes a series of significant historical incidents of the late Qing dynasty. Therefore, it became the masterpiece of Zhu Zumou, who concluded the historical writings of ci-poetry in politically chaotic times. Compared with Zhu’s model, the eight poems by Yuan Haowen (1190-1257), the Qiangcun poems take an objective view and literally focus on the imperial court. Their style may be seen as a return to the palace-style tradition, without any deviation. However, it is exactly this retreat in form that results in expanding the meaning space in the text and brings brand-new artistic tension. Judging from the original story of these ci-poems,quite a few of the poems feature multi-meaning dimensions. The most typical one is the third poem in the suite. It reflects the “literary reality” over the basis of “historical reality”. This effect is achieved by the poet’s unique writing skills dealing with unique political backgrounds. To a certain extent, it is also a reflection of the memory field of the loyalists’ of the past dynasty. The manuscript Qiangcun yuye yields hints to our analysis of the revision work of the eight Zhegutian poems. With the observation of the intertexts of these poems written at the same time, we argue that there are not only traces of group memories but also Qiangcun’s personal integrity and principles. They form his political integrity throughout his life. We place these works in the late-Ming, three-hundred-year history of ci-poetry and find that this suite of Zhegutian poems represents all the strengths of suite poems of the time.