| 摘要: | 冒襄的《影梅庵憶語》是追悼愛妾董小宛的自傳式記憶敘事作品，按時間索驥，追憶他與小宛相識相戀相惜的生死情緣，將傳統詩學的悼亡之情加上敘事元素，寫伉儷間豔事柔情，纏綿悱惻、哀感頑豔，開創「憶語體」的散文類型。
冒襄自道寫回憶錄的原創作動機是為了報答董姬。然而細讀《影梅庵憶語》可以發現除了個人的情愛事件，時空背景框架經常逾越敘事主體，穿梭在愛與烽火中的記憶，飽受戰亂亡族之痛的「我」似乎隱約展現在情愛之外，更大的敘事驅力(narrative imperative)，有一種建構／言說自我的意圖。
冒襄明遺民的敏感身份，入清之後即受朝廷文化箝制政策影響，他大量著作都被列為違禁書刊，只能在地下流播，唯獨《影梅庵憶語》因題材為「悼亡」，逃過查禁法眼，所以這篇憶亡之作，成為冒氏抒情、言志的一篇重要的文學載體，深具傳播意義。本文經由對〈影梅庵憶語〉的敘事分析，觀察冒襄藉「回憶」的選擇和編織，記錄個人生命史和家國歷史雙重創傷，交錯於私領域和公領域之間的敘事，藉悼亡寫史存史，自覺或不自覺地在建構一個入世的「儒者」和「遺民」形象，此一舉無形中累積了冒氏在當時文人圈和遺民圈的聲譽，形成一種的文化資本。
Mao Siang's Ying-mei-an-yi-yu is a kind of memoirs to grieve for his wife, Dong Siao-Wan (董小宛). In a chronological style, this work demonstrates a love story between Siao-Wan and him about their whole romantic life, especially the first day they met and fall in love with each other. Moreover, this work describing not only touching and affective interaction, but also doleful and regretful mood combines mournful style in traditional poem and narrative fashion to create a kind of prose, ”Yi-yu-ti” (憶語體).
Mao mentioned the motivation of this work is to recall with deep motion for Siao-Wan. However, after the scrutiny of this work, it not only describes personal romantic story, but also refers to war connecting his love memory beyond simply personal events. The latter presents a self-feeling in the turmoil of war and national doom which is beyond his personal romantic story, moreover, implies a bigger narrative imperative expressing author's intention of constructing himself. During the early period of Ching Dynasty, Mao's works were influenced by Ching's literary inquisition because of his sensitive status about a loyalist in former Ming Dynasty. Lots of his works, excepting Ying-mei-an-yi-yu, were listed as illegal ones but outspreaded under the table. Ying-mei-an-yi-yu could pass the government's inquisition because of the ”mournful style” and the content about mournful memory for his wife. Therefore, this work combining Mao's lyric and encouraging style can serve as an substantial literature, which has an important meaning of historic significance.
Under the narrative analysis, this paper demonstrates Mao recorded a kind of double trauma in the memory of his whole life and homeland history intertwining the descriptions between private and public area by choice and organization of the memory. Also, this paper presents Mao consciously or unconsciously constructed an image of engaged ”Confucianist” and ”loyalists in former Dynasty” and concludes that Mao's writing style informally formed and accumulated his reputation in communities of intellectuals and loyalists in former Dynasty at that time and created a kind of cultural capital in the future. |
