張衡〈同聲歌〉篇旨及所透顯之房中文化析論

Abstract

張衡（西元78-139），少善屬文，諸體兼善，其中尤以詩賦成就最高，其現存詩歌數量雖然不多，且多為殘篇，但兼涉四言、五言、七言體裁。其中〈同聲歌〉與〈四愁詩〉在五、七言詩歌的發展上同具重要地位。然而相較於七言〈四愁詩〉，五言之作的〈同聲歌〉鮮有專篇探討，又歷來對該詩的討論，多集中在篇旨興寄與否上，學者大多承沿吳競及郭茂倩的說法，認為本詩篇旨有所興寄。對此，本文將參酌張衡生平事蹟，並以其詩文作品為佐證，以期能在前賢的基礎上對此議題做一釐清。再者，〈同聲歌〉所涉及的房中內容突破儒家禮教禁錮，大膽歌頌人類至真至性的原始需求，除了在詩歌題材上有所創新外，更是考察漢代房中文化發展的重要資料，然此部分多被歷來學者所忽略。對此，本文將就詩中「列圖陳枕張」以下予以挖掘，進一步探討詩中涉及的房中議題，及本詩在文學史上的定位與評價。

Zhang Heng (78-139 A.D.), started literary producing when he was young, and was good at literatures, especially poem and rhapsody. Nowadays, the number of his existing anthology of literature was quite small, and mostly fragments involving four-word, five-word, and seven-word poems. However, his work, "Tong Sheng Ge" (〈同聲歌〉and "Si Cho Shi" (〈四愁詩〉), had great impact on the development of five-word and seven-word poem, but the "Tong Sheng Ge" is less discussed. Moreover, most of the discussion on "Tong Sheng Ge" mainly focused on exploring its imagery. most of the scholars adopted Wu Jing (吳競) and Guo Maoqian (郭茂倩)'s says and agreed with the existence of imagery of "Tong Sheng Ge". Therefore, in this manuscript, by referring Zhang's life story and his anthology of literature, we aim at discovering the manners of imagery and the corresponding adoptions in "Tong Sheng Ge" to clear up whether "Tong Sheng Ge" was written based on those affaires. For the aspect of broadly talking about marriage-bed in "Tong Sheng Ge", it had broken the Confucian propriety imprisonment, and audaciously praised to the true humanity of the original demand for sex. Not only can it bring innovation in the subject of poetry subject but was the important literature for investigating the development of marriage-bed culture in Han. However, rare literatures have noted this part. For his, we focus on the context segment starting from “列圖陳枕張”to investigate the topics related to marriage-bed. We will also evaluate its position and judgment in the history of literature.