《招魂》:屈原而非宋玉营构的奇诡世界

On the Author of Zhaohun and its Artistic Creation

关于《招魂》之作者,汉代就有屈原、宋玉两种不同的判定,以后各有分化和推进;加上对所招对象的认知不同,情形愈显得复杂。其间最基本的历史轨迹是,作者问题,宋玉说超出屈原说,所招对象问题,招王说超出招屈说。本文宗旨不在一一评析和回应历史上种种观点,而在着力呈现自己对《招魂》作者、主旨本身的认知:基于文本所叙被招者之行为和特征,确定篇中之招魂术乃"施之生人"者,而被招对象只能是屈原,不可能是怀、襄或其他楚王。基于文本所设定的结局背离其所述招魂目的、代言说迂曲而空洞,并参证《大招》之"为招之术",确认《招魂》之招屈子不可能是宋玉代言。基于文本采取第一人称之叙事视角,证明《招魂》乃屈子自作自招。最后揭橥《招魂》本意——屈子人生抉择的象征,以证成全文主旨。

Zhaohun （《招魂》, Calling Back the Spirit of the Dead） was a famous poem from the Songs of Chu （《楚辞》）. During the nan Dynasty, some scholars said its author was Qu Yuan （屈原）, while the others said it was Song Yu （宋玉） who wrote it. And since the Han Dynasty, there have been many different views about whom the necromancy had applied for. Having no attempt to make comments on all these opinions, this article is intended to present evidence on the author＇ s own point of view. More specifically, it outlines the behaviors and experiences which are typical of the object the necromancy applied for, and analyses the account of the necromancy applied in Zhaohun, together with its narrative perspective. Hence, this article confirms that it was Qu Yuan who created Zhaohun, and his description of the necromancy is only a wonderful symbol.