论《松雪斋文集》中仕元心理的文学呈现方式

On Literary Presentation of Zhao Mengfu's Psychological State as a Yuan Dynasty Official in His Songxuezhaiwenji

《松雪斋文集》是赵孟頫入元后的心灵记录。他应征出仕,颇有用世之志,骤受恩遇,则进一步激发了其参政意识,然而宦海浮沉,感慨良多。赵孟頫对自己出仕的叙述有着“捉来官府”、“误落尘网”、“诏举逸民”、“擢自布衣”四种解释模式,追忆中的自我美化和强化,是现实境遇影响的结果,也是其自我心理的需要。而他对仕元生涯的慨叹,则由钦羡逸民与自述本志、有意用世与渴望归隐两种叙述框架交织而成,其心理特征是不断地自我否定和自我肯定的交战。他的归隐田园、官事尘杂、蛾眉见嫉、贪恋君恩四种描述归隐之志的视角,不能单纯地理解为归隐之志。而这正是南宋遗民文学所呈现的共同心理特征。

This thesis focuses on the literary presentation of Songxuezhaweniji, a collection of poetry, calligraphy and painting by the noted Yuan Dynasty poet Zhao Mengfu （a Southern Song imperial clansman）, which reflects his psychological state as a famous official of the Yuan Dynasty, who has been criticized for being disloyal to his country. Zhao＇s service as an official goes back to 1286 when the first Yuan Dynasty emperor Kublai Khan sent an official to southern china on the mission inviting adherents of the Southern Song Dynasty to serve for the Yuan court at the capital （today＇s Beijing）. The fact is that Zhao had received this invitation before he knew the truth. In addition, it was not his first choice to be an official the Yuan imperial court, which did not compel him to do so. By now no existent records have ever shown Zhao＇s refusal or hesitation. His decision was made mainly because of his ideal of participating in politics, instead of what has been described as any psychological contradiction or pressure. The subtle changes in Zhao＇ s psychology can be reflected in his different modes of narration about his official career in his poetry and prose. Zhao＇s writings feature four modes of narration about his being a court official： （1） He was caught by the Yuan imperial court, which is far from being true. （2） He received the invitation by mistake, which indicates his regret. （3） He, as a hermit, was recommended by the emperor, which suggests his recognition of the Yuan Dynasty as a hermit-official symbolized the times of peace and prosperity. （4） He was promoted from a commoner to an imperial official. The fourth mode meant Zhao＇s glory despite the previous three modes reflecting psychological contradictions to some extent. These modes of narration were used in Zhao＇s different political situations. Specifically, while in a bad situation, he preferred the first or second mode. When he achieved both success and fame, he preferred the last two modes. What＇s more, this is how Zhao glorified himself in looking back on his past experience. His potential intention was to avoid the struggle in his innermost world, obtain psychological balance and gratification, and remove all psychological contradictions. There are two kinds of narration about Zhao＇ s official career. （1） The first one is dedicated to the expression of admiration for hermitage and of his lofty ideal. It suggests his self-evaluation and self-judgment, as well as his desire for self-recognition and recognition by others. （2） The second one is about his intention to perform meritorious deeds and his being eager for the life of a heimit. His intention best reflects his ignoring his status of a Southern Song imperial clansman and possible criticism against him made by people of his generation and later generations. Therefore, Zhao＇s shift from a deep sorrow for the fall of the Song Dynasty to a deep sigh with emotion, and his warm praise of the new government of the Yuan Dynasty can find expression in his works. In addition, his eagerness to lead the life of a hermit is represented in four perspectives： （1） a pastoral life in his native home; （2） inflexible daily routine; （3） jealousies by other officials; and （4） reluctance to give up the emperor＇ s favor. The above modes of narration reflect conflicts between self-approval and self-denial in Zhao＇ s inner world. These conflicts not only contribute to his achievements in art and literature but also represent the typical psychological characteristics of those adherents of the Song Dynasty who served for the Yuan dynasty.