苏轼《薄薄酒》及宋代续作中的丑妇书写

On the Reference and Portrayal of Ugly Women in Sushi’s Ci-poem The Weaker the Wine (薄薄酒)and Its Sequels in the Song Dynasty

在以丑妇为核心的宋诗谱系中,苏轼《薄薄酒》占有举足轻重的地位。苏轼《薄薄酒》中之丑妇,成为诗人志于栖隐、戒慎疏远之个体价值的自我观照;黄庭坚续作中的丑妇则与莱妻形象同构,被赋予避世者乐道闲居的意涵,与苏诗中之丑妇相呼应,皆是北宋文士转向内在自我展示的一种方式。苏、黄诗中的丑妇,隐然透露出北宋党争的激烈图景,也表明北宋文士将目光转向个体化的价值时对妇德形成的高度自觉意识。而南宋续作中之丑妇更具现实感,也与“妇德”等特质相联结,充分体现了诗人在私人领域中诉诸寻常日用来实践内化之道德的生活态度。南宋受苏轼《薄薄酒》影响而以丑妇为主题的诗作,标志着一种新的价值观念,即妍妇真正成为恶的象征,丑妇则是善的代表。男性作家对丑妇的认可,对美人的扬弃,意味着南宋文人的不俗与道德自许。南宋对丑妇的价值肯定,也反映在以孟光为女性典范的诗词书写中,对美色的超越与对妇德的追求成为主流价值,而这正是围绕着美丑的思辨所构成。

Regarding the poetic tradition of the Song Dynasty centered around depictions of ugly women,Su Shi’s Ci-poem The Weaker the Wine(薄薄酒)holds a pivotal position.In this poem,the reference and portrayal of the ugly woman serves as a self-reflection on the individual values of seclusion and cautious avoidance of estrangement for the poet.Similarly,the reference and portrayal of the ugly woman in Huang Tingjian’s same-title poem bears certain resemblance to the wife of Lao Laizi,an anchorite in the Spring and Autumn Period(770—476 B.C.),embodying the idea of a recluse who finds joy in a life of leisure.This mode of self-expression signifies a shift among Northern Song literati towards introspective displays of the self.The ugly women depicted in the poetry of Su Shi and Huang Tingjian subtly reflect the intense factional struggles of the Northern Song Dynasty.They also illustrate the literati’s heightened awareness of ethical norms concerning women,as these poets turned their focus towards individualized values and self-awareness.By contrast,the images of ugly women depicted by poets of the Southern Song Dynasty(1127—1279 A.D.)are more grounded in reality and connected to traits such as“female morality,”reflecting the life attitudes of itinerant poets who turned to everyday experiences to internalize moral principles in personal realms.Influenced by Su Shi’s The Weaker the Wine(薄薄酒),poetry in the Southern Song Dynasty that focused on ugly women began to take on a new set of values.The acceptance of ugly women and the rejection of beautiful women by male authors also symbolize the dignity and moral self-approval of Southern Song literati.The affirmation of the value of ugly women in the Southern Song Dynasty is further evident in the depiction of Meng Guang as a model for married women,shaping a dominant value system that transcends physical beauty and emphasizes ethical qualities.This discourse surrounding beauty and ugliness forms the basis of these reflections.