沈祖棻《涉江詞》研究

Abstract

沈祖棻（1909-1977）為近現代詞史上的大家，亦為著名學者程千帆的妻子，她一生橫跨近代至當代，經歷過對日抗戰、國共內戰、新中國成立及文化大革命，詞作情感真摯，造語清麗典雅。除了書寫小我的相思閨怨之情外，更將觸角延伸至家國社會，以比興寄託手法委婉評論時政，也以直筆批判社會亂象，筆鋒亦剛亦柔，飽含對人民處境、國家命運的關懷。她著有《微波辭》、《涉江詞稿》、《涉江詩稿》、《宋詞賞析》、《唐人七絕詩淺釋》、《古詩今選》（與程千帆合作）六種，以及短篇小說、新詩、散文、雜著等百數十篇。沈祖棻以詞名世，其詞作亦曾選入現當代詞選中，但臺灣學界卻對她關注不多。本文探討她一生用力最著、且最具代表性的《涉江詞》，由考索「涉江」一詞的命名緣由及意涵，延伸出詞作的兩大主題：扣合〈古詩十九首．涉江採芙蓉〉的相思念遠與屈原〈九章．涉江〉的家國關懷之作，探討其詞作內容、寫作手法、精神意旨等等。前者的特指相思多為寫給丈夫之作，除了抒發夫妻聚少離多的愁緒，更是動亂時代的反映；而泛指相思除了是對閨怨傳統的回歸之外，詞中塑造了深於情、為情所困卻又執著無悔的女子形象，或為作者的人格化身，或以追求愛情的失落寄託理想落空的感懷，兩類詞作或有重疊之處，但都展現《涉江詞》中十足「女性」的一面。後者則展現《涉江詞》中社會性的一面，詞中小我的流離來自家國的淪亡，個人的身世之感常與故國家山之思打成一片，可以分成流亡初期、客居異地與返鄉前後三個層次，各有不同的側重點。此外，詞人亦以比興寄託手法婉轉諷諭時政，並以直筆揭露社會亂象、批判扭曲世風，前者繼承常州詞派的興寄傳統，以神話傳說與女性意象評論國際局勢與相關史事，對上位者有所諷刺；後者則集中批判戰時大後方權貴的醉生夢死、知識分子的崇洋媚外、投機客的鑽營神態，亦反映當時物價飛漲、特務橫行、學潮屢起等社會亂象，為苦難的大眾發聲，繼承了杜甫詩史的精神。透過兩大主題的爬梳整理，當可發現《涉江詞》中的相思念遠、羈旅懷鄉之情與家國危亡相互牽繫，詞中的淒婉之音亦為動盪時代的反映。但就算在時代的磨難之下，沈祖棻仍然堅守原則，不與世同流合汙，故「涉江」涵意不只體現在思鄉懷人、忠愛家國之上，除了隱含亂世中的流離轉徙、渴望安定生活的深層期盼之外，更是詞人自我砥礪、自勵自勉的精神期許，值得後人深思。Shen Zufen (1909-1977) is a master in modern Chinese poetry history and she is also the wife of the famous scholar, Cheng Qianfan. Throughout her life, she had experienced many important events of China, like Anti-Japanese War, Chinese Civil War, founding of New China and Cultural Revolution. The emotion in her worksis sincere, and the language she used is classic and elegant. In addition to personal feelings of lovesickness and grievances, she also talked about country and society in her works. She used comparative and associative techniques to comment on politics, and directly criticized the chaos on society. Sometimes, her writing style is gentle but sometimes you can feel the strength in her work. What's the same about her works is her concern toward the situation of people and care toward the country's fate. She is the author of Wei Bo Ci, Shejiang Ci Draft, Shejiang Poetry Draft, Song Ci Appreciation, A Brief Explanation of Qi Jue Poems in Tang Dynasty, Anthology of Ancient Poems (coauthor Cheng Qianfan), and hundreds of short novels, Chinese free verses, essays, and other collections of her works. Shen Zufen is famous for her Ci, and her works of Ci have also been selected in selections of modern and contemporary poems, but Taiwan academia pay little attention to her.This article discusses Shejiang Ci, the work that she devoted the most effort on and is also the most representative work in her life. By studying the naming reason and meaning of “shejiang”, two main themes of the poem are extended, which connect the lovesickness from “Wading Across the River for the Lotus ”of “The Nineteen Ancient Poems”, and the care of country from Qu Yuan's “Shejiang” of “Jiu Zhang” to discuss content, writing techniques, and spiritual meaning of her poems. There are two kinds of lovesickness in Shejiang Ci, one specifically refers to lovesickness, which is mostly written for husbands. In addition to expressing the sadness of couples spending less time together than separate, it is also a reflection of the turbulent times. While the general reference to lovesickness is not only a recur to the tradition of boudoir sorrow, but also a deep portrayal of an affectionate woman who is in love, trapped by love, but persistent with no regrets, which is either the author's personality incarnation, or the feeling that her ideal has failed with the loss of pursuing love. There may be overlaps between the two types of Ci, but they both show the “female” part of Shejiang Ci. The care of country shows the social side of Shejiang Ci. The wandering of one person in the Ci comes from the extinct of his own country, so the sense of personal life experience is often integrated with the thoughts of missing the extinct country. The social part of Shejiang Ci can be divided into three levels, the early days of exile, living in a different place, and before and after returning home. Each of the three levels has a different focus. In addition, the poet also used comparative and associative technique to euphemistically allude to current politic, exposing social chaos and criticizing the distorting world in a direct way. The former inherited the associative tradition of the Changzhou Ci School, and uses myths, legends and female images to comment on the international situation and related historical events and also mock the superiors. The latter focused on criticizing the potentates who lead befuddled lives during the war, the intellectual's admiration of foreign countries, and the speculator's demeanor. It also reflected the social chaos of the time such as soaring prices, rampant secret agents, and repeated student movements. She spoke for the suffering masses which inherited the spirit of the Poet-Historian, Du Fu. Through the clarifying of the two major themes, one can find that the lovesickness and the nostalgia for homeland are interrelated with the extinction of the country in Shejiang Ci, and the sound of sorrow in this verse is also a reflection of that turbulent society at that time. But even under the tribulations of the times, Shen Zufen still stuck to her principles and did not float with the world. Therefore, the meaning of “shejiang” is not only reflected in homesickness and loyalty to the country. In addition to implied displacement and migration in troubled times, and deep anticipation of longing for a stable life, it is also the spiritual anticipation of the poet's self-improvement and self-encouragement, which is worth pondering for future generations.