解冤釋結：《于少保萃忠全傳》的宗教解讀———兼論中國宗教與文學中的解冤傳統

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
 從宗教文學的方法論來説，宗教、文學兩者之間存在三種關係，也即是連結（and）、在内（in）與作爲（as），本文擬綜合運用三種方式，探討其與中國傳統宗教的關係，尤其是道教迄今仍保存“解冤釋結”科，這種儀式實踐均各有其宗教義理的支持，形諸小説文本的叙述結構，實與此一義理結構有微妙的互動。在此以晚明一部小説作爲例證，即孫高亮《于少保萃忠全傳》，該書以明代名臣于謙（1398—1457）作爲主人翁，探討其人生中從結冤、明冤到解冤的曲折過程。由於這個故事觸及人情義理的深刻議題，出版以後即出現不同的版本，後被删節精化，在清代仍廣爲流傳。此一現象非僅關乎版本，也意謂著後人認同其隱含的微意。
 冤結的問題意識源流甚早，早在六朝志怪、唐傳奇既已觸及，“冤”報成爲叙事文類中重要的題材，晚明則是以時人時事爲對象，撰寫爲歷史傳記性質的小説，相較之下究竟有何異趣？在此嘗試從宗教觀點切入，圍繞著冤結這個核心理念，探討其諸多面向，到底與社會倫理、法治運作和天理運行有何關聯性？並尋找解冤釋結的可能性，從而證成一種具有宗教感的叙述美學。
 本文從“解冤釋結”的觀點考察其叙述結構，發現幾乎三分之二篇幅都在開展“結冤”情節。這種偏向的形成，必須回歸到義理結構的分析，唯有透過“結冤”叙述纔能“表明”、“暴露”冤的真相，將雙方壓抑已久的誤會、委屈、傷害，均一一呈明於天、地、人之間，纔是“釋結”精神的真諦。其次“冤”具有强烈的衝突性，從六朝志怪、唐人傳奇開始，即以公案、復仇或冥報類型表現個人冤結，但明清小説的特色就是同時綜合多種題材、類型，並且藉此强化其“社會性”，就像于謙之冤，不僅是個人際遇問題，更超越了家族榮辱；同時也透過輿論、小説進入公領域，成爲一種公衆議題。而小説的叙述筆法則是不斷强化于謙之“功”，特别是與“爲民申冤”的公案結合，又穿插明代衆多忠而見戮的冤獄故事，以此襯托于謙之“冤”達於極點，而要求明冤、雪冤的社會氛圍，也就超越了階級、身分，從而構成一種正面的社會公義感與時代感染力，最後則必須透過功烈成神的宗教崇拜，化冤氣爲正氣，方能滿足集體的心理需求，展現感動人的文學力量。
 In terms of methodology, religious literature can be regarded in a three- dimensional relation — religion and/in/as literature. This article intends to combine these three types of relations to discuss it in the context of traditional Chinese religion, where especially in Taoism the ritual of “redressing injustices” is based on the religious doctrine and forms the narrative structure of numerous novels interacting with it in a subtle way. I take as an example the vengeance in the late Ming novel Complete Biography of the Loyal Junior Guardian Yu by Sun Gaoliang, whose main protagonist is the famous Ming dynasty official Yu Qian (1398-1457) to explore the dramatic turns in his life from the incurrence of injustice to its revealing and redressing. As this story involves the important issue of human relationships and principles, a lot of versions of it appeared as soon as it was published, subsequently abridged and elaborated, it circulated widely in the Qing dynasty. This is not simply a matter of different versions but a question of people recognizing its subtle meaning.
 The consciousness behind incurring injustices dates far back in time, the stories from the Six Dynasties and the Tang dynasty already mention it, where the response for “injustice” became an important subject-matter in the narrative genre. The late Ming author uses it to confront contemporary issues writing a novel as a historical biography. Between each period? the differences in the representation of injustice. The paper addresses these questions from multiple perspectives taking religion as a starting point and using the idea of incurring injustice to explore the connections between this idea and social ethics, the fate of the state and the implementation of heavenly justice. It also investigates the possibility of redressing injustices, proving the narrative esthetics charged with a sense of religion.
 Observing the narrative structure from the point of view of redressing injustices, I find out that almost two thirds of the plot is about “incurring injustice”. To understand this bias we have to analyze the structure of the moral principles behind it—only by means of “incurring injustice” can the narrative “indicate”, “expose” its true nature, and bring to light in front of heaven, earth and the people the long suppressed misunderstandings, grievances and harm between the two sides, being the essence of the spirit of “reconciling of injustices”. Furthermore, “injustice” has a strong sense of conflict, starting with the Six Dynasties and the Tang dynasty stories, where individual injustices are shown in the types of detective stories, stories about revenge and retribution from the nether world. However, the Ming-Qing stories are unique because they combine a number of subject-matter and story types to intensify their “social nature”. The injustice in the case of Yu Qian is not only a matter of personal fate but it also exceeds the questions of honor and disgrace of the family clan; moreover, it enters the public sphere and becomes a publicly discussed issue. Throughout the novel Yu Qian’s “accomplishments” are emphasized, they match especially the legal case of “being granted an order of redress on behalf of the people”, and the narrative is interspersed with stories about those unrightfully killed despite their loyalty. All these stories set off the culmination of Yu Qian’s injustice, requires its clarification and avenge, and exceeding class and status, embodies social justice and appeal for its times. Finally, the religious worship toward him as a deity for his strong merits transforms the injustice into righteousness, and only then is it possible to satisfy the requirements of the collective psyche, thus revealing the touching power of the written word.