作者 ｜
蔡瑜(台灣大學中文系)
摘要 ｜
漢末女詩人蔡琰出生於文學、音樂世家，以其卓絕出眾的才學及顛沛流離的人生經歷，頗受後人的矚目。本文即在探討其生存時空屢經移轉的特殊經歷以及相應而生的主體意識，呈現其一生在種族、階級、性別的糾結處境申，曾經如何經歷了複雜的認同過程；突顯其以一介身經胡漢文化洗禮的女子，經過一連串的斷裂與接續的掙扎，最後在漢族中心、男性本位的政治社會裡，無從建構自我的疏離，以及為了符應直線的、單一的認同，壓抑其在個人歷史形成中已然潛存之複雜、多元的認同欲望，從而觀知其悲憤情結的肯綮。
因此，本文的主旨在於重讀女性作家的作品，尋索女性主體的音聲，揭示女性在特定時空下的處境與生存策略；並進而質疑女性作品在文學正典的傳統下，如何面臨被纂改與被消音的危機。所謂被篡改與被消音的危機，係指自宋代蘇軾開始質疑〈悲憤詩〉為偽作之後，所掀起的熱烈的作品真偽之辨，戰火延至當代仍爭辯不休。在此一連串以史考詩的過程中，使其幽微的、邊緣的、他者的存在經驗無從符應，幾令蔡□的音聲為巨大的歷史洪流所淹沒。
關鍵字 ｜
身分、認同、主體意識、性別、種族、階級
Title ｜
Personal Diaspora And Identity----Tsai Yen's Songs of Grief and Indignation
Author ｜
Yu Tsai(Department of Chinese Literature, National Tsing Hua University)
Abstract ｜
Tsai Yen, the female poet born to a literary and musical family in late Han Dynasty, was renowned for her brilliant literary works and extraordinary personal experience. This essay traces her personal diaspora in the age of wars and ethnic confrontations, and by embedding her life in racial, class, and gender complexities, tries to reconstruct her identity issues. The upshot of this reconstruction brings it to light that, as a female intellectual going through both Hu (northern barbarian) and Han cultures, she constantly faced the ruptures of transition and the angst of choice, and that thanks to the ethnocentrism and male chauvinism of the Han people who could not tolerate anything other than a linear, unitary national identity, returning to the Han society later in her life only alienated her all the more and repressed her deeply seated desires for richer, multifarious identities.
The essay argues that only through such a subjectivity-oriented reading, one that highlights her own experience and the female point of view, can we unravelthe debates around the authorship of the poems, “Grief and Indignation” (Bei Pen Shi), that some attributed to Tsai Yen. This approach not simply allows us, through re-reading women’s literary work, to “hear” the unheard female voice eried out in their real life struggles and strategies of resistance. More importantly, it also reveals the dangers of being falsified and silenced that women’s literary works faced in the tradition of Chinese Canon. In the case of Tsai’s “Grief and Indignation”, these dangers grew out of the Sung’s poet su Tung-Po’s suspicions concerning the authorship of these two poems. The debate continues into contemporary literary research. Based on the Canonic reading of these poems and other historical documents, the suspicions have ignored the marginalized other-experience of their writer and, as shown in the essay, attempted to snuff out Tsai Yen’s cries in her work.
Keywords ｜
Identity, Subjectivity, Gender, Race, Class, Women's Literature.