欧阳修的文学世界与生命情境

【作者】 陈湘琳；

【导师】 王水照；

【作者基本信息】 复旦大学 ， 中国古代文学， 2010， 博士

【摘要】 就现有对欧阳修的研究成果而言,不管是在评价标准和描述框架两方面,都还有值得反思之处。在对欧阳修作为政治家、经学家、史学家、古文大家、宋诗风格倡导者等等的挖掘展现中,他这一方面的形象被有意识地拔高、经典化,而他作为一个普通“人”的情感欲望,作为一个士大夫个体对存在情境的关注,或者作为一个感性哲者面对人生困境的惶迫、忧伤与思考——这方面的形象则似乎被有意无意的轻忽、掩盖,甚至埋没。实际上,作为一个完整的文学个体,面对社会与面对内心的欧阳修都交出了可观的书写成果。学者的讨论如果仅仅停留在对欧阳修儒者、政治家、经学家、史学家、诗文革新者、文坛领袖等面貌与形象的解说褒扬上,则笔者以为是不全面的,是对丰富完整的欧阳修形象与文学旨趣的学术局限。因此,论文命意所在即在承认既有的欧阳修形象之合理性的前提下,试图进行局部修正和丰富,加强私领域内心的表达而不只是公领域价值的体现,以期更真切地认识欧阳修与欧阳修的文学世界与生命情境,并由此省察北宋一代士大夫们的文学意趣、哲理思辨、人生追求,以及由他们共同完成的有宋一代之文学。论文第一章与第二章的讨论范围是欧阳修的生平与交游,但讨论视角却是要从其内在的情感开展。换言之,两章的重点不在对欧阳修生平与交游的关系梳理或者脉络厘清,而更在于对欧阳修一生中所面对的肉体之衰病、精神之哀恸、心灵上孤独的深刻体认,以至同僚好友间亲疏远近关系变化的情境解读。凡此种种,不单对他的人生观有很大的影响,更在其文学中有具体的反映。论文第三章至第五章是欧阳修文学中的空间书写。与传记或者文学史中所谱写的不同之处在于,论文着力要论证这些场域不但是欧阳修生命中实存的、重要的地理空间,同时还是他主动建构的文学空间：洛阳是记忆的场景,贯串其一生对无法回返之盛年、离世的友人,还有失落的理想的沉痛记忆；夷陵与滁州是他的人生隐喻,表达了其面对生命挫折与苦难的思考、反省与豁达理念之生成；颍州则显示为一种表层的言说,在表面上思颍、思隐、思闲居、思归田的“颖州”情结中,欧阳修实际表述了其不知所归的困窘、不得不隐藏的畏祸避难心态、在闲居中仍然意欲有补于国事的理想,以及在生理之不逮、现实情势的不许可之下的黯然退守。第六章与第七章是欧阳修的时间书写。不管是论文的第六章《在呜呼与戏笑之间：历史的私撰与闲笔》,还是第七章《“不朽”省思：生命的观照》,欧阳修所关注的其实都是时间：历史在时间长流中的铸记,时间对生命印记的淹没。如何在“逝者如斯夫”的时间长流中铸记历史,如何在“老之将至”的慨叹中创造不朽,这是欧阳修时间书写中的终极关怀。论文第八章与第九章则是针对欧阳修的风度与文化性格在北宋社群关系中的观感型态与影响。第八章《玩物与戏游：“六一风度”表述》乃欲侧重在欧阳修“六一风度”的具体呈现上,从而体现其在北宋特殊人文环境中思辩情感兼备,处穷自若、豁达自娱、超越功利,却又务实以利天下的精神面貌与风度特质。论文第九章《从逸到达：文化性格铸成》则拟从欧阳修艳俗词的写作切入,探讨他早期性格中张扬狂逸的一面,以及中晚年后所经历的从“逸”到“达”的明显改变。以此为讨论视角,则欧阳修所表述的其实不只是词风的转化,而且还体现了其诗风、文风乃至文化性格的转变,借此凸显北宋一代士大夫的个性铸成与文学史转向。论文的结论则旨在对欧阳修文学世界中的生命情境,欧阳修作为北宋的时代标示与士大夫群体的代表,以及“全人”欧阳修的可能意义作一总结。更多还原

【Abstract】 There are numerous researches on Ouyang Xiu; however, regardless of appraisal standard and description framework, there is still room for further review. In the excavation and unfolding of Ouyang Xiu as the famous politician, philosopher, historian, prose writer, initiator of Song Poetry etc., these images of him had been strengthened while the other part of him had been ignored, concealed, or even neglected. This include his passion and emotion as a "person", his concern of the reality circumstances as a bureaucrat, and his ponder over the dilemma of life as a sensitive scholar.In fact, as an integrated literature self, both the social and inner part of Ouyang Xiu has portrait significant achievement. If the researchers remain on the traditional societal achievement of Ouyang Xiu, it will impose constraint on understanding the richness profile and academics research of Ouyang Xiu. This thesis intends to enhance the study of Ouyang Xiu private self in order to fully comprehend his literary world and his state of life. From here, the thesis aims to examine the literature interest, the philosophy as well as the pursing of life value of the Northern Song bureaucrats group.The first and second chapters of the thesis discuss Ouyang Xiu’s life and social sojourn, with the focus on his inner emotion. In other words, these two chapters will bypass the discussion on biography or social relationship, but focus on his physical sickness, psychological sorrow, solitary temperament as well as the fluctuations in his relationships. All of these not only influenced his philosophy of life but also strongly reflected in most of his writings.Chapter Three, Four and Five will discuss on the spatial writings of Ouyang Xiu. There is actually a gap between the geographical "space" shown in the biography and Chinese literary history, compared with the "space" enshrined in his literary work. In other words, these spaces are not only the important geographical places where Ouyang Xiu had once lived, but also the space metaphors that he had created in his literature. Luoyang is a remembrance site, reminded him of his youth, his past away friends and his long lost ideal. Yiling and Chuchou is the metaphor of his life philosophy, conveyed his reflection of suffering and misery. Yingzhou is a discourse that Ouyang Xiu has uttered rather than a linguistic statement. The contradiction of the real and metaphor "Yingzhou" not only an interesting paradox, but also shown the main misunderstanding that was made in the discussion of Ou’s complex in "Yingzhou". Generally, "Yingzhou" was seen as a metaphor of Ou’s longing for the place "Yingzhou", his intention to live in seclusion, to live leisurely and his retirement into the "Yingzhou" country. But the truth is, Ouyang Xiu actually expressed his dilemma circumstances, his fear of trouble and misfortune, his never forsaken ideal of serving his country and finally his forced retirement due to sickness and unfavorable reality.Chapter Six and Seven will focus on the discussion of "Time". In either the writings of private historical compose, or his reflection of immortality, the main concern is actually "time", from the casting of history in the long stretch of time, to the flooding of human imprinting by the time. As a result, the effort of marking history as well as making immortality possible has become the ultimate concern in his writings.Chapter Eight and Nine aimed to discuss the liuyi manner and the literati character of Ouyang Xiu. Chapter Eight will emphasis on the present of the liuyi manner. This particular manner not only reflected the unity of both the thought and sentiment, but also reflected the ability to face difficulty, the capacity to be broad minded and self-amuse even in terrible situation, the surpass of fame and the skill to work steadily in order to bring benefit to the state.Chapter Nine "From Unruly to Sensible:the Transformations of Literati’s Character" in the other hand intended to start the discussion with Ouyang Xiu’s amorous songs. From here, the discussion will continue on the unruly character of Ouyang Xiu during his youth, and the transformation of his character from unruly to sensible in his older days. More importantly, this change of songs writing not only reflects his change in temperament, but also his adaptation in poetry and prose as well. It also manifests the transformations of Ouyang Xiu literati’s character and the literary history as a whole.The Conclusion Chapter of the thesis aims to make a conclusion on the state of life in Ouyang Xiu’s literary world, his affect on the bureaucrat groups of Northern Song as a paragon, and last but not least, the discussion of Ouyang Xiu as a "whole person".更多还原