| 摘要: | 本論文分為上、下兩編，分別討論十七世紀的男性讀者張竹坡和丁耀亢，以及二十世紀八○年代的男女讀者蒲安迪與田曉菲，探看他們如何看《金瓶梅》的身體、閱讀時的身體感知(body experience)，以及透過身體這個議題，他們「看」到的究竟是什麼。 作為十七世紀《金瓶梅》的讀者與再創作者，張竹坡的「看」與丁耀亢的「看」各有其專注點，張竹坡(1670-1698)示範了「明眼人」的閱讀方法，留心於《金瓶》中多層次的身體——分身、隱身、安身、化身及轉身，同時從身體隱喻看出作文之法，而自稱為「盲史」的丁耀亢(1599—1669)則以「作注之法」讀寫《金瓶》，其《續金瓶梅》藉由「冷」、「熱」、「酸」、「癢」的寫作技法，在「使人動起火來」之餘「使人動心而生悔懼」，兩人皆將閱讀視為修行的過程。然而，這場閱讀修行卻終究成為嚴肅遊戲，無論是張竹坡藉由「插入」性的評點來「仿擬」性愛過程；還是丁耀亢也藉著「遊戲品」中滑稽但最終失效的性描寫來暫時滿足屬於創作者的嬉遊本色，皆可見讀寫《金瓶》不再是無關痛癢的讀者反應，而是牽涉到身體感知的「閱讀——身體」之辯證。 二十世紀八○年代的《金瓶》男女讀者蒲安迪與田曉菲兩人的「看」則與張竹坡、丁耀亢有其異同。蒲安迪(Andrew H.Plaks,1945-)有系統地建構張氏評點《金瓶》之章法，其儒式研讀法實踐了閱讀即修身的理想途徑。相較於此，田曉菲(1971-)則示範了慈悲閱讀法，她既能欣賞男性讀者夏志清所無法欣賞的「不漂亮醉人」的孟玉樓，也能從潘金蓮那雙殘酷的「纖手」中讀出一個有別於古典詩詞的立體佳人，同時以現當代圖像與攝影對映著她所喜愛的《金瓶梅》繡像本。 從十七世紀張竹坡的「作文之法」、丁耀亢的「作注之法」，一直到了二十世紀八○、九○年代的《金瓶》讀寫者蒲安迪、田曉菲，遊戲與後設的性質更為濃厚，讀寫者原先從「我為《金瓶梅》作注」的姿態逐遍演變為「《金瓶梅》為我(的觀點、說法)作注」，整個讀寫史的演變正體現了遊戲的歷程。 This dissertation discusses the perspectives of four ancient and contemporary readers on human body and body experiences while reading the Ming novel “Jin Ping Mei”. It contains two parts: the first focuses on two important male readers, Zhang Zu-po (1670-1698) and Ding Yao-kang(1599-1669) in the 17th century, followed by a second part on two modern readers in the 80’s, Andrew H. Plaks (1945-) and Tien Xaiofei (1971-). As a reader of “Jin Ping Mei”, Zhang Zu-po’s point of view differs slightly from Ding’s. Zhang emphasized that “one with a sharp view (Ming Yian Ren，明眼人)” was the ideal reader. He concentrated on various symbols and metaphors of the body in “Jin Ping Mei”, and demonstrated how one can write based on such rhetoric. Compared to Zhang’s “sharp view” perspective, Ding Yao-kang declared himself to be “a blind literati” (Mang Shi，盲史), and regret to write the sequel “Xu Jin Ping Mei” (續金瓶梅). However, with his masterpiece “Xu Jin Ping Mei”, he still contributed profoundly to the understanding of “Jin Ping Mei”. By interleaving the expressions of “cold” (冷) and “hot” (熱) in turn, he restrained the readers’ desires while evoking their body experiences such as sorrow (酸) and sexual urge (癢). The main purpose of Zhang and Ding’s rewriting is to constrain the reader’s sexual craving, and transformed the reading process into a path of enlightenment. However, the essence of rewriting is a game which the writer plays to satisfy himself with tricks and challenges to the readers. Part of Zhang’s connotation unveiled his licentious imaginations, and showed that he was unconsciously involved and obsessed with sex while reading “Jin Ping Mei”. Ding likewise pleased himself by creating the playful episodic chapters (Yao xi ping，遊戲品). Their rewritings suggest that reading “Jin Ping Mei” is more of an experiential than interpretive process. The other two readers in the 80’s – Andrew H. Plaks and Tien Xaiofei – emphasized different aspects of reading “Jin Ping Mei”. Base on Zhang Zu-po’s commentary, Andrew H. Plaks systematically constructed a “Confucian Reading” to demonstrate that reading is a process of practicing moral teaching. Compared to “Confucian Reading”, Tien Xaiofei read “Jin Ping Mei” with a compassionate reading method from Buddhism. Not only she appreciated the non-beauty, middle-age woman Mong Yu-lo whom C. T. Hsia could not admire, but also detected a real and vivid beauty from reading Pan jinlian that differed from the conventional sense. Moreover, Tien Xaiofei tried to echo creatively “Xin Ke Xiou Xiang Jin Ping Mei” (新刻繡像金瓶梅) with modern photographs and pictures in her rewriting “Qiou Shui Tang Lun Jin Ping Mei”.(秋水堂論金瓶梅) From readers like Zhang Zu-po, Ding Yao-kang in the 17 century to Andrew H. Plaks and Tien Xaiofei in the 80’s, the motivations of rewriting “Jin Ping Mei” have changed from annotating to recreating. The history of reading and rewriting “Jin Ping Mei” has thus been shown to be a process of recreation. |
