關于宋(song)(song)玉(yu)(yu)(yu)(yu)的(de)(de)生(sheng)(sheng)平,據《史記·屈(qu)原(yuan)賈(jia)生(sheng)(sheng)列傳(chuan)(chuan)》載:"屈(qu)原(yuan)既死之(zhi)后,楚(chu)有(you)宋(song)(song)玉(yu)(yu)(yu)(yu)、唐勒、景差(cha)之(zhi)徒(tu)者(zhe),皆(jie)好(hao)辭而(er)以(yi)賦(fu)見(jian)稱(cheng)。然(ran)皆(jie)祖屈(qu)原(yuan)之(zhi)從容辭令(ling),終莫(mo)敢直諫。"記述極為簡略。《韓詩(shi)外傳(chuan)(chuan)》有(you)"宋(song)(song)玉(yu)(yu)(yu)(yu)因(yin)其(qi)友而(er)見(jian)楚(chu)相"之(zhi)言。劉(liu)向《新(xin)序》則作"宋(song)(song)玉(yu)(yu)(yu)(yu)因(yin)其(qi)友以(yi)見(jian)楚(chu)襄(xiang)王(wang)(wang)","事楚(chu)襄(xiang)王(wang)(wang)而(er)不見(jian)察",同時又有(you)"楚(chu)威王(wang)(wang)(襄(xiang)王(wang)(wang)的(de)(de)祖父(fu))問于宋(song)(song)玉(yu)(yu)(yu)(yu)"的(de)(de)話。王(wang)(wang)逸在(zai)《楚(chu)辭章句》中則說他是屈(qu)原(yuan)的(de)(de)弟(di)子。晉代習鑿齒《襄(xiang)陽耆舊傳(chuan)(chuan)》又說:"宋(song)(song)玉(yu)(yu)(yu)(yu)者(zhe),楚(chu)之(zhi)鄢人也,故(gu)(gu)宜城有(you)宋(song)(song)玉(yu)(yu)(yu)(yu),始事屈(qu)原(yuan),原(yuan)既放逐,求事楚(chu)友景差(cha)。"總之(zhi),關于宋(song)(song)玉(yu)(yu)(yu)(yu)的(de)(de)生(sheng)(sheng)平,眾說紛紜,至難分(fen)曉(xiao)。大體上(shang)說,宋(song)(song)玉(yu)(yu)(yu)(yu)當(dang)生(sheng)(sheng)在(zai)屈(qu)原(yuan)之(zhi)后,是為戰(zhan)國時期(qi)宋(song)(song)國公子,因(yin)父(fu)子矛盾而(er)出走楚(chu)國,今存有(you)宋(song)(song)玉(yu)(yu)(yu)(yu)城遺址,相傳(chuan)(chuan)宋(song)(song)玉(yu)(yu)(yu)(yu)在(zai)臨澧(li)生(sheng)(sheng)活47年(nian),留下了大量辭賦(fu)作品以(yi)及傳(chuan)(chuan)說故(gu)(gu)事,當(dang)地(di)有(you)宋(song)(song)玉(yu)(yu)(yu)(yu)墓、九辯書院,還有(you)不少(shao)與宋(song)(song)玉(yu)(yu)(yu)(yu)有(you)關的(de)(de)地(di)名傳(chuan)(chuan)說等故(gu)(gu)事。
關于(yu)宋玉(yu)師(shi)承(cheng),普遍(bian)認為(wei)他(ta)師(shi)承(cheng)屈原。但也有(you)學者認為(wei)王逸晚(wan)于(yu)屈原200年(nian)后(hou)才說宋玉(yu)是屈原弟子是沒(mei)有(you)依據的,是其把“祖(承(cheng)襲、效法)屈原”理解(jie)為(wei)“師(shi)從屈原”了。
最早據《漢書·藝(yi)文(wen)(wen)志》載,有(you)16篇(pian)(pian)。現今相傳為他所(suo)作(zuo)的(de)(de),《九(jiu)(jiu)辯(bian)》、《招(zhao)魂(hun)》兩(liang)篇(pian)(pian),見于(yu)王逸《楚辭章(zhang)句(ju)》;《風(feng)賦(fu)(fu)(fu)(fu)》、《高(gao)(gao)唐賦(fu)(fu)(fu)(fu)》、《神女賦(fu)(fu)(fu)(fu)》、《登徒(tu)子好色賦(fu)(fu)(fu)(fu)》、《對(dui)楚王問(wen)》 5篇(pian)(pian),見于(yu)蕭統(tong)《文(wen)(wen)選》;《笛賦(fu)(fu)(fu)(fu)》、《大言賦(fu)(fu)(fu)(fu)》、《小言賦(fu)(fu)(fu)(fu)》、《諷賦(fu)(fu)(fu)(fu)》、《釣賦(fu)(fu)(fu)(fu)》、《舞(wu)賦(fu)(fu)(fu)(fu)》 6篇(pian)(pian),見于(yu)章(zhang)樵《古文(wen)(wen)苑》;《高(gao)(gao)唐對(dui)》、《微(wei)詠賦(fu)(fu)(fu)(fu)》、《郢中對(dui)》 3篇(pian)(pian),見于(yu)明代劉節(jie)《廣文(wen)(wen)選》。但(dan)這些(xie)作(zuo)品,真偽相雜,可信而無(wu)異(yi)議(yi)的(de)(de)只有(you)《九(jiu)(jiu)辯(bian)》一(yi)篇(pian)(pian)。《招(zhao)魂(hun)》頗多爭議(yi),一(yi)般(ban)認為是(shi)(shi)屈原(yuan)所(suo)作(zuo)。其(qi)他如《高(gao)(gao)唐賦(fu)(fu)(fu)(fu)》、《神女賦(fu)(fu)(fu)(fu)》、《登徒(tu)子好色賦(fu)(fu)(fu)(fu)》、《風(feng)賦(fu)(fu)(fu)(fu)》等篇(pian)(pian)在文(wen)(wen)學史上的(de)(de)地位是(shi)(shi)相當重(zhong)要的(de)(de)。
宋(song)玉的(de)成就(jiu)雖然難與屈(qu)原相比,但他(ta)是(shi)屈(qu)原詩歌藝術的(de)直(zhi)接(jie)繼承者。在(zai)他(ta)的(de)作品(pin)中,物象的(de)描繪(hui)趨于(yu)細(xi)膩(ni)工(gong)致,抒情與寫景結合得自然貼切, 在(zai)楚辭與漢賦之間,起(qi)著承前(qian)啟后(hou)(hou)的(de)作用(yong)。后(hou)(hou)人多以屈(qu)宋(song)并稱,李白曾說“屈(qu)宋(song)長(chang)逝,無堪與言”,可見宋(song)玉在(zai)文學(xue)史上(shang)的(de)地位。
在藝術思想體系上(shang),宋玉深(shen)受道家文(wen)學的影(ying)響。他許多辭賦從(cong)遣詞造句(ju)到(dao)謀篇布(bu)局、從(cong)立(li)意構思到(dao)運(yun)用(yong)寓言 都深(shen)受 《老子》《莊子》《列(lie)子》的濡(ru)染,特別是“恢詭譎怪”的莊子散文(wen)對宋玉影(ying)響更大(da)。
道家(jia)文(wen)學對宋(song)玉(yu)的(de)(de)(de)濡染道家(jia)學派的(de)(de)(de)開山祖師是(shi)老(lao)(lao)(lao)子(zi)。宋(song)玉(yu)的(de)(de)(de)辭賦(fu)創作(zuo)受(shou)了老(lao)(lao)(lao)子(zi)《道德經》(即(ji)《老(lao)(lao)(lao)子(zi)》)的(de)(de)(de)沾溉。宋(song)玉(yu)描寫男(nan)女(nv)性愛,即(ji)明(ming)顯(xian)受(shou)了老(lao)(lao)(lao)子(zi)的(de)(de)(de)影響。道家(jia)文(wen)學在語(yu)言運用(yong)(yong)上(shang)沖破了這(zhe)(zhe)(zhe)一(yi)禁區,常(chang)用(yong)(yong)富有性感(gan)的(de)(de)(de)語(yu)言闡(chan)述和表現玄理(li)。《老(lao)(lao)(lao)子(zi)》贊揚嬰兒,‘未(wei)知(zhi)牝(pin)牡之合(he)而全(quan)(按:一(yi)作(zuo)膠,指小(xiao)孩生(sheng)(sheng)殖器)作(zuo)’(第(di)55章(zhang)),把(ba)嬰兒的(de)(de)(de)這(zhe)(zhe)(zhe)種本能看作(zuo)是(shi)天性精純的(de)(de)(de)表現。他(ta)在強調(diao)以(yi)(yi)(yi)靜(jing)為本時還說(shuo)過:‘牝(pin)常(chang)以(yi)(yi)(yi)靜(jing)勝(sheng)牡,以(yi)(yi)(yi)靜(jing)為下。’(第(di)61章(zhang))這(zhe)(zhe)(zhe)是(shi)用(yong)(yong)雌雄交配(pei)的(de)(de)(de)例子(zi)說(shuo)明(ming)以(yi)(yi)(yi)靜(jing)勝(sheng)動(dong)、以(yi)(yi)(yi)柔克剛(gang)。類似語(yu)言對于言必稱(cheng)禮書禮義的(de)(de)(de)鄒魯之士(shi)、播紳先生(sheng)(sheng)來說(shuo),是(shi)絕不肯(ken)啟齒的(de)(de)(de)。”宋(song)玉(yu)正(zheng)是(shi)繼承了老(lao)(lao)(lao)子(zi)大膽地進行描寫的(de)(de)(de)傳(chuan)統(tong),在《招魂》《高(gao)唐賦(fu)》《神女(nv)賦(fu)》《登徒子(zi)好色(se)賦(fu)》《諷(feng)賦(fu)》等作(zuo)品中真(zhen)實(shi)自(zi)然地表現了男(nan)女(nv)。
宋玉(yu)辭(ci)賦中(zhong)(zhong)有(you)(you)(you)些句式(shi)(shi),明顯脫胎于《道(dao)德(de)經》。游國恩先(xian)生(sheng)說:“今按《道(dao)德(de)經》中(zhong)(zhong),大半是韻文,極(ji)似一(yi)種散文詩歌。而(er)其(qi)中(zhong)(zhong)又(you)有(you)(you)(you)特別的(de)(de)(de)(de)兩章(zhang),例如(ru)(ru)第(di)(di)十(shi)五(wu)章(zhang)云(yun): ‘豫(yu)兮(xi)(xi)(xi)(xi)(xi)若(ruo)冬涉川,猶兮(xi)(xi)(xi)(xi)(xi)若(ruo)畏(wei)四(si)鄰,儼兮(xi)(xi)(xi)(xi)(xi)其(qi)若(ruo)容(rong)(rong),渙兮(xi)(xi)(xi)(xi)(xi)若(ruo)冰之(zhi)(zhi)將釋,.敦兮(xi)(xi)(xi)(xi)(xi)其(qi)若(ruo)樸,曠兮(xi)(xi)(xi)(xi)(xi)其(qi)若(ruo)谷,混兮(xi)(xi)(xi)(xi)(xi)其(qi)若(ruo)濁。’又(you)第(di)(di)二十(shi)一(yi)章(zhang)云(yun):‘孔德(de)之(zhi)(zhi)容(rong)(rong),惟道(dao)是從。道(dao)之(zhi)(zhi)為物(wu),惟恍(huang)惟惚(hu)。惚(hu)兮(xi)(xi)(xi)(xi)(xi)恍(huang)兮(xi)(xi)(xi)(xi)(xi),其(qi)中(zhong)(zhong)有(you)(you)(you)象(xiang);恍(huang)兮(xi)(xi)(xi)(xi)(xi)惚(hu)兮(xi)(xi)(xi)(xi)(xi),其(qi)中(zhong)(zhong)有(you)(you)(you)物(wu)。窈(yao)兮(xi)(xi)(xi)(xi)(xi)冥(ming)兮(xi)(xi)(xi)(xi)(xi),其(qi)中(zhong)(zhong)有(you)(you)(you)精(jing),其(qi)精(jing)甚真,其(qi)中(zhong)(zhong)有(you)(you)(you)信。’這些句子不(bu)(bu)但有(you)(you)(you)韻,而(er)且(qie)很(hen)像楚(chu)辭(ci)的(de)(de)(de)(de)先(xian)驅;因為它們很(hen)有(you)(you)(you)‘騷體(ti)’的(de)(de)(de)(de)風味(wei)。……所以(yi)我(wo)們可以(yi)說老(lao)子是南方學術的(de)(de)(de)(de)鼻祖,同(tong)時又(you)是楚(chu)辭(ci)的(de)(de)(de)(de)禰祖。游先(xian)生(sheng)指出《道(dao)德(de)經》具有(you)(you)(you)楚(chu)騷風味(wei),自是不(bu)(bu)刊(kan)之(zhi)(zhi)論。不(bu)(bu)過(guo),值得(de)注意的(de)(de)(de)(de)是,游先(xian)生(sheng)所舉《道(dao)德(de)經》第(di)(di)十(shi)五(wu)章(zhang)那樣的(de)(de)(de)(de)句式(shi)(shi),在(zai)宋玉(yu)作品中(zhong)(zhong)卻有(you)(you)(you),而(er)且(qie)模仿的(de)(de)(de)(de)非常(chang)像。如(ru)(ru)宋玉(yu)《九(jiu)辯(bian)》開頭在(zai)“悲哉,秋之(zhi)(zhi)為氣也”之(zhi)(zhi)后,即用(yong)了一(yi)組(zu)與《道(dao)德(de)經》相同(tong)的(de)(de)(de)(de)帶“兮(xi)(xi)(xi)(xi)(xi)”字的(de)(de)(de)(de)比喻(yu)句來描(miao)寫蒼涼的(de)(de)(de)(de)秋景(jing):“蕭瑟兮(xi)(xi)(xi)(xi)(xi),草木搖落而(er)變衰。慷栗兮(xi)(xi)(xi)(xi)(xi),若(ruo)在(zai)遠(yuan)行,登山I陸水(shui)兮(xi)(xi)(xi)(xi)(xi),送將歸。次寥兮(xi)(xi)(xi)(xi)(xi),天高(gao)而(er)氣清。寂寥兮(xi)(xi)(xi)(xi)(xi),收潦而(er)水(shui)清。……”宋玉(yu)在(zai)賦作中(zhong)(zhong)描(miao)寫人物(wu)形(xing)象(xiang)也常(chang)用(yong)此(ci)類句式(shi)(shi)。如(ru)(ru)《高(gao)唐賦》描(miao)寫神女的(de)(de)(de)(de)形(xing)象(xiang):“其(qi)始(shi)出也,時兮(xi)(xi)(xi)(xi)(xi)若(ruo)松樹(shu);其(qi)少進也,哲兮(xi)(xi)(xi)(xi)(xi)若(ruo)姣姬。……忽(hu)兮(xi)(xi)(xi)(xi)(xi)改容(rong)(rong),偈兮(xi)(xi)(xi)(xi)(xi)若(ruo)駕駟馬(ma),建羽旗。湫(qiu)兮(xi)(xi)(xi)(xi)(xi)如(ru)(ru)風,凄兮(xi)(xi)(xi)(xi)(xi)如(ru)(ru)雨。”《神女賦》中(zhong)(zhong)也是如(ru)(ru)此(ci):“曄兮(xi)(xi)(xi)(xi)(xi)如(ru)(ru)華,溫乎如(ru)(ru)瑩”;“忽(hu)兮(xi)(xi)(xi)(xi)(xi)改容(rong)(rong),婉(wan)若(ruo)游龍乘云(yun)翔”,等等。
道家學派的經(jing)典《莊子(zi)》和《列子(zi)》對(dui)宋玉的影響就(jiu)大了,尤其是《莊子(zi)》。
宋(song)(song)玉(yu)辭賦描(miao)寫(xie)刻(ke)劃人物有的(de)(de)明顯受了(le)《莊(zhuang)子》和《列子》的(de)(de)影(ying)(ying)響。例(li)如(ru),宋(song)(song)玉(yu)《釣(diao)(diao)賦》、描(miao)寫(xie)的(de)(de)玄(xuan)淵(yuan)(yuan)善(shan)釣(diao)(diao):“夫玄(xuan)淵(yuan)(yuan)釣(diao)(diao)也,以(yi)(yi)三尋之(zhi)(zhi)(zhi)(zhi)竿(gan),八(ba)絲之(zhi)(zhi)(zhi)(zhi)綸(lun),餌若蛆蚓,鉤(gou)如(ru)細針,以(yi)(yi)出三尺(chi)之(zhi)(zhi)(zhi)(zhi)魚(yu)(yu)于數仞(ren)之(zhi)(zhi)(zhi)(zhi)水(shui)中(zhong)(zhong),豈可(ke)謂無術乎(hu)(hu)?夫玄(xuan)淵(yuan)(yuan),芳水(shui)餌,掛繳(jiao)鉤(gou),其(qi)意不(bu)可(ke)得(de)(de),退而(er)(er)牽行,下(xia)觸清泥,上(shang)則(ze)波(bo)(bo)揚(yang)。玄(xuan)淵(yuan)(yuan)因(yin)水(shui)勢而(er)(er)施之(zhi)(zhi)(zhi)(zhi),頡(jie)之(zhi)(zhi)(zhi)(zhi)頏之(zhi)(zhi)(zhi)(zhi),委(wei)縱(zong)收斂,與魚(yu)(yu)沉浮(fu)。及其(qi)解弛(chi)(chi),因(yin)而(er)(er)獲之(zhi)(zhi)(zhi)(zhi)。”很容易使人想(xiang)起《列子·湯問》描(miao)寫(xie)的(de)(de)詹何善(shan)釣(diao)(diao):“詹何以(yi)(yi)獨繭絲為綸(lun),芒針為鉤(gou),荊條為竿(gan),剖粒為餌,引盈車之(zhi)(zhi)(zhi)(zhi)魚(yu)(yu)于百仞(ren)之(zhi)(zhi)(zhi)(zhi)淵(yuan)(yuan),汩流(liu)之(zhi)(zhi)(zhi)(zhi)中(zhong)(zhong),綸(lun)不(bu)絕,鉤(gou)不(bu)伸,竿(gan)不(bu)撓。”兩者的(de)(de)相(xiang)似,是(shi)顯而(er)(er)易見的(de)(de)。《列子》過去被定為偽作(zuo)。現有可(ke)靠(kao)的(de)(de)材料證明,并非如(ru)此(ci),大(da)概是(shi)戰國(guo)中(zhong)(zhong)期(qi)偏晚的(de)(de)著作(zuo)。如(ru)此(ci),則(ze)宋(song)(song)玉(yu)《釣(diao)(diao)賦》受了(le)《列子》的(de)(de)啟發與影(ying)(ying)響,可(ke)以(yi)(yi)斷定。另外,宋(song)(song)玉(yu)《釣(diao)(diao)賦》描(miao)寫(xie)的(de)(de)玄(xuan)淵(yuan)(yuan)善(shan)釣(diao)(diao),還會使人想(xiang)起《莊(zhuang)子.外物》中(zhong)(zhong)描(miao)寫(xie)的(de)(de)任公子之(zhi)(zhi)(zhi)(zhi)釣(diao)(diao):“任公子為大(da)鉤(gou)巨(ju)(ju)緇,五(wu)十(shi)牿以(yi)(yi)為餌,蹲乎(hu)(hu)會稽,投(tou)竿(gan)東海,旦(dan)旦(dan)而(er)(er)釣(diao)(diao),期(qi)年不(bu)得(de)(de)魚(yu)(yu)。已而(er)(er)大(da)魚(yu)(yu)食之(zhi)(zhi)(zhi)(zhi),牽巨(ju)(ju)鉤(gou),銘沒而(er)(er)下(xia)騖,揚(yang)而(er)(er)奮髫,白波(bo)(bo)若山,海水(shui)震蕩(dang),聲侔鬼神,憚赫千里。任公子得(de)(de)若魚(yu)(yu),離而(er)(er)臘之(zhi)(zhi)(zhi)(zhi),自制河以(yi)(yi)東,蒼梧(wu)以(yi)(yi)北,莫(mo)不(bu)厭若魚(yu)(yu)者。已而(er)(er)后世輇才諷(feng)說(shuo)之(zhi)(zhi)(zhi)(zhi)徒(tu),皆驚(jing)而(er)(er)相(xiang)告也。”任公子毫(hao)不(bu)著意,反(fan)而(er)(er)釣(diao)(diao)得(de)(de)大(da)魚(yu)(yu),這和玄(xuan)淵(yuan)(yuan)“因(yin)水(shui)勢而(er)(er)施之(zhi)(zhi)(zhi)(zhi),頡(jie)之(zhi)(zhi)(zhi)(zhi)頏之(zhi)(zhi)(zhi)(zhi),委(wei)縱(zong)收斂,與魚(yu)(yu)沉浮(fu)。及其(qi)解弛(chi)(chi),因(yin)而(er)(er)獲之(zhi)(zhi)(zhi)(zhi)”的(de)(de)神乎(hu)(hu)其(qi)神的(de)(de)釣(diao)(diao)魚(yu)(yu)技藝多么相(xiang)似啊(a)!
宋(song)玉辭賦的(de)謀篇(pian)布局有的(de)也明顯受了《莊子》和(he)《列子》的(de)影響。
清(qing)浦銑《復小(xiao)齋賦(fu)(fu)話(hua)》卷下(xia)云(yun):“宋玉《釣(diao)賦(fu)(fu)》,可為諷諫法,當與莊子《說(shuo)(shuo)(shuo)劍(jian)(jian)》篇(pian)參看。”宋玉《釣(diao)賦(fu)(fu)》將釣(diao)分為“玄妣釣(diao)”、“堯舜禹(yu)湯之釣(diao)”、“大(da)王之釣(diao)”三(san)種。《莊子·說(shuo)(shuo)(shuo)劍(jian)(jian)篇(pian)》嘗云(yun)劍(jian)(jian)有(you)三(san),有(you)“庶民之劍(jian)(jian)”,有(you)“諸侯(hou)之劍(jian)(jian)”,有(you)“大(da)王之劍(jian)(jian)”。因(yin)此(ci),宋玉賦(fu)(fu)這(zhe)種寫法實(shi)乃《莊子·說(shuo)(shuo)(shuo)劍(jian)(jian)篇(pian)》的(de)翻版。請(qing)看《莊子·說(shuo)(shuo)(shuo)劍(jian)(jian)篇(pian)》的(de)有(you)關描寫:文字略
考古發(fa)現的宋(song)(song)(song)玉(yu)《御(yu)(yu)(yu)賦(fu)(fu)》亦云“御(yu)(yu)(yu)有三(san)”,有“鉗且、大(da)丙之御(yu)(yu)(yu)”、“王良、造父之御(yu)(yu)(yu)”、“今人之御(yu)(yu)(yu)”,將御(yu)(yu)(yu)照樣分為三(san)種。《釣賦(fu)(fu)》、《御(yu)(yu)(yu)賦(fu)(fu)》與(yu)《說(shuo)劍(jian)(jian)》在結構(gou)層次、謀篇布局上的相(xiang)似,表明道(dao)家文學(xue)對宋(song)(song)(song)玉(yu)的滋潤是(shi)(shi)很深的。楚文化專家張正明先生甚至認(ren)為《說(shuo)劍(jian)(jian)》實際(ji)上是(shi)(shi)一篇散體(ti)賦(fu)(fu),其(qi)作者或許就是(shi)(shi)宋(song)(song)(song)玉(yu)。這(zhe)也是(shi)(shi)富于啟發(fa)性的觀點,因為《莊(zhuang)子·說(shuo)劍(jian)(jian)》與(yu)宋(song)(song)(song)玉(yu)賦(fu)(fu)在藝術風格上的確非常相(xiang)似。
我們再看宋玉的《風賦》:文字略。
元代郭翼《雪履齋筆記(ji)》云(yun):“古(gu)來繪風手,莫如宋玉(yu)雌雄(xiong)之論(lun)。”宋玉(yu)《風賦》確(que)是一篇描(miao)寫風的(de)名(ming)賦,而在宋玉(yu)之前,莊子也對(dui)風有過精彩(cai)的(de)描(miao)繪。這就(jiu)是《莊子·齊物論(lun)》中(zhong)所(suo)寫的(de)著名(ming)的(de)“天籟(lai)”和“地籟(lai)”:文字略
從(cong)骨子(zi)里看(kan),宋(song)玉(yu)(yu)《風(feng)賦》將風(feng)分(fen)為(wei)“雄風(feng)”與(yu)(yu)(yu)“雌風(feng)”,實脫胎于《莊(zhuang)子(zi)·齊物(wu)論(lun)》將風(feng)分(fen)為(wei)“天(tian)籟(lai)”和“地籟(lai)”。但(dan)莊(zhuang)子(zi)所描寫的(de)“天(tian)籟(lai)”與(yu)(yu)(yu)“地籟(lai)”與(yu)(yu)(yu)宋(song)玉(yu)(yu)所描寫的(de)“雄風(feng)”與(yu)(yu)(yu)“雌風(feng)”,在藝術(shu)上卻各有千秋(qiu)。這(zhe)主(zhu)要是因為(wei)宋(song)玉(yu)(yu)借(jie)鑒了莊(zhuang)子(zi)的(de)寫法,又注(zhu)意了翻新出奇。
另外(wai),清代南宮邢氏(shi)珍藏本(ben)《宋(song)玉集》卷下“對問(wen)類”有宋(song)玉《對或人問(wen)》一篇,內容(rong)文(wen)字略(lve)。
據此(ci)(ci)書(shu)書(shu)末所附《采輯古書(shu)考(kao)》云,此(ci)(ci)文(wen)系錄(lu)自“劉向(xiang)(xiang)《新(xin)(xin)序(xu)(xu)》卷五”,今(jin)傳本西(xi)漢劉向(xiang)(xiang)所著《新(xin)(xin)序(xu)(xu)·雜事第五》正好有此(ci)(ci)段文(wen)字(zi)(zi)。這是一篇記錄(lu)宋玉(yu)軼事的(de)(de)作(zuo)(zuo)品,嚴(yan)格(ge)說來,不(bu)能(neng)算是宋玉(yu)的(de)(de)作(zuo)(zuo)品。不(bu)過,從(cong)《文(wen)選(xuan)》卷四五所載(zai)宋玉(yu)《對楚王問》,其(qi)類似文(wen)字(zi)(zi)亦見于劉向(xiang)(xiang)《新(xin)(xin)序(xu)(xu)·雜事第一》來看,又(you)未嘗不(bu)可以(yi)作(zuo)(zuo)宋玉(yu)作(zuo)(zuo)品看待(dai),至少(shao)其(qi)中宋玉(yu)所說的(de)(de)話是可以(yi)當宋玉(yu)作(zuo)(zuo)品看待(dai)的(de)(de)。文(wen)章通(tong)過玄媛處“桂林之中”和處“枳棘之中”兩種絕然不(bu)同處境的(de)(de)對比描寫,表現了自己(ji)“處勢(shi)不(bu)便(bian)”、懷才(cai)不(bu)遇的(de)(de)牢騷與憤懣。文(wen)章構思明顯脫胎于《莊子·山(shan)木》中的(de)(de)莊子對魏王問:文(wen)字(zi)(zi)略。
將宋玉的對(dui)或人(ren)問和莊子的對(dui)魏王問一對(dui)照,布局謀(mou)篇(pian)、遣詞造句都非常相似,不過宋玉立(li)意要含蓄些(xie)。
宋(song)(song)玉有的(de)作品甚至從立(li)意謀篇到寓言故事都(dou)脫胎于《莊子》。例如《對楚(chu)王問》。楚(chu)襄(xiang)王問宋(song)(song)玉說(shuo):“先生其(qi)有遺行與?何士民眾庶不譽之甚也?”宋(song)(song)玉回答說(shuo):“唯,然,有之。愿大(da)王寬(kuan)其(qi)罪,使得畢其(qi)辭。”他先說(shuo)了在楚(chu)國首都(dou)郢都(dou)一(yi)次音樂演出(chu)的(de)情況:
客有(you)歌于郢中(zhong)(zhong)者,其(qi)始(shi)曰《下里》《巴人》,國(guo)(guo)中(zhong)(zhong)屬而(er)和(he)(he)者數千(qian)人;其(qi)為《陽(yang)阿(a)》《薤露》,國(guo)(guo)中(zhong)(zhong)屬而(er)和(he)(he)者數百(bai)人;其(qi)為《陽(yang)春》《白雪》,國(guo)(guo)中(zhong)(zhong)屬而(er)和(he)(he)者,不過數十人;引商刻羽,雜(za)以流徵,國(guo)(guo)中(zhong)(zhong)屬而(er)和(he)(he)者,不過數人而(er)已。是其(qi)曲彌(mi)高,其(qi)和(he)(he)彌(mi)寡。
這里將欣賞音(yin)樂(le)的人分(fen)為幾個(ge)層次,似乎(hu)是(shi)《老子》第四十一章:
上士(shi)聞道,勤而行之;中士(shi)聞道,若存若亡;下士(shi)聞道,大笑(xiao)(xiao)之,不笑(xiao)(xiao),不足以為道。故建言(yan)有之:明道若昧……太白若辱(ru),廣德若不足……
的形(xing)象表現(xian)。張松輝博(bo)士認(ren)為(wei)宋(song)玉(yu)“客有歌于(yu)郢中(zhong)者”云(yun)云(yun)這則(ze)故事,其思(si)想內(nei)容脫胎(tai)于(yu)《莊(zhuang)子(zi)·天地》所云(yun):“大聲不入于(yu)里耳,《折揚》《皇苓》,則(ze)嗑然而(er)笑。是故高言(yan)不止于(yu)眾人之心,至言(yan)不出,俗言(yan)勝(sheng)也。”宋(song)玉(yu)不過給予了潤色加工而(er)已。而(er)接著的寓(yu)言(yan)故事:
故鳥有鳳而(er)魚有鯤(kun)。鳳凰上擊九千里,絕云(yun)霓,負蒼天,翱翔乎杳冥之(zhi)(zhi)(zhi)上。夫蕃(fan)籬之(zhi)(zhi)(zhi)鸚,豈能(neng)與之(zhi)(zhi)(zhi)料天地之(zhi)(zhi)(zhi)高哉(zai)?鯤(kun)魚朝發昆侖之(zhi)(zhi)(zhi)墟,暴髫于(yu)碣石,暮宿于(yu)孟諸。夫尺澤之(zhi)(zhi)(zhi)鯢(ni),豈能(neng)與之(zhi)(zhi)(zhi)量江海之(zhi)(zhi)(zhi)大哉(zai)!
分明(ming)是(shi)《莊(zhuang)子(zi)·逍(xiao)遙(yao)(yao)游》中的(de)鯤(kun)鵬(peng)與斥鷯(liao)寓言(yan)(yan)故事的(de)改(gai)寫。但莊(zhuang)子(zi)運用這(zhe)個寓言(yan)(yan)是(shi)說明(ming)大到鯤(kun)鵬(peng),小(xiao)到斥鶿(zi),都(dou)是(shi)“有待(dai)”的(de),都(dou)并不逍(xiao)遙(yao)(yao),只有“乘天(tian)地之正,而御六氣之辯,以(yi)游無(wu)窮者”,才是(shi)“無(wu)待(dai)”的(de),才是(shi)逍(xiao)遙(yao)(yao)的(de)。所以(yi)他(ta)說:“至人(ren)(ren)無(wu)己,神(shen)人(ren)(ren)無(wu)功,圣人(ren)(ren)無(wu)名。”而宋玉在《對楚王(wang)問》中引用這(zhe)個寓言(yan)(yan),則是(shi)說自(zi)己是(shi)魚(yu)中的(de)鯤(kun),鳥(niao)中的(de)鵬(peng),世俗(su)之民則是(shi)蕃籬之鸚、尺(chi)澤之鯢,自(zi)己和世俗(su)之民本來就(jiu)不是(shi)一個層(ceng)次上(shang)的(de)人(ren)(ren),因(yin)而不可能(neng)被世俗(su)之民理解。
戰國時(shi)代流行一種語(yu)言(yan)(yan)游戲,即“大(da)言(yan)(yan)”與(yu)“小(xiao)(xiao)言(yan)(yan)”。《莊(zhuang)子(zi)(zi)》和《列子(zi)(zi)》中(zhong)(zhong)即頗多“大(da)言(yan)(yan)”與(yu)“小(xiao)(xiao)言(yan)(yan)”。宋(song)玉(yu)也創作了《大(da)言(yan)(yan)賦(fu)》與(yu)《小(xiao)(xiao)言(yan)(yan)賦(fu)》,描(miao)寫了楚(chu)襄王令景差、唐(tang)勒(le)(le)、宋(song)玉(yu)比說“大(da)言(yan)(yan)”與(yu)“小(xiao)(xiao)言(yan)(yan)”的情況,其中(zhong)(zhong)所(suo)言(yan)(yan)許多即化用《老子(zi)(zi)》《莊(zhuang)子(zi)(zi)》與(yu)《列子(zi)(zi)》中(zhong)(zhong)的語(yu)句。如《小(xiao)(xiao)言(yan)(yan)賦(fu)》中(zhong)(zhong),唐(tang)勒(le)(le)所(suo)言(yan)(yan):“析(xi)飛糠以為(wei)(wei)輿,剖秕糟以為(wei)(wei)舟,泛然投乎杯水(shui)中(zhong)(zhong),淡若巨(ju)海(hai)之洪流”,即脫胎于(yu)《莊(zhuang)子(zi)(zi)·逍遙(yao)游》:“覆杯水(shui)于(yu)坳堂之上,則芥為(wei)(wei)之舟。”宋(song)玉(yu)所(suo)言(yan)(yan):
無內之(zhi)(zhi)中(zhong),微物潛生。比(bi)之(zhi)(zhi)無象,言(yan)之(zhi)(zhi)無名。蒙蒙滅景,昧昧遺形。超于(yu)大虛之(zhi)(zhi)域,出于(yu)未兆之(zhi)(zhi)庭。纖于(yu)毳末之(zhi)(zhi)微蔑,陋(lou)于(yu)茸毛之(zhi)(zhi)方生。視之(zhi)(zhi)則(ze)眇眇,望之(zhi)(zhi)則(ze)冥(ming)冥(ming)。離朱為之(zhi)(zhi)嘆悶,神(shen)明不(bu)(bu)能察其(qi)情琶二子(zi)之(zhi)(zhi)言(yan),磊(lei)磊(lei)皆不(bu)(bu)小,何(he)如此之(zhi)(zhi)為精?
這樣充滿東方神秘主義的精彩(cai)描寫,亦(yi)是道(dao)家的筆調。猶(you)(you)《列子》所言(yan):“江浦之間生麼蟲,……離朱(zhu)子羽方拭皆揚眉(mei)而望之,勿見其(qi)(qi)形。”亦(yi)猶(you)(you)《老子》第十四章(zhang)(zhang)所言(yan):“視之不見,名日(ri)夷;聽之不聞,名日(ri)希;搏之不得,名日(ri)微,此三(san)者不可致詰……繩(sheng)繩(sheng)不可名,復(fu)歸于(yu)無(wu)(wu)物(wu)(wu),是謂(wei)無(wu)(wu)狀(zhuang)之狀(zhuang)、無(wu)(wu)物(wu)(wu)之象。”和第二(er)十一章(zhang)(zhang)所言(yan):“道(dao)之為物(wu)(wu),惟(wei)倪惟(wei)惚(hu),倪兮(xi)惚(hu)兮(xi),其(qi)(qi)中有物(wu)(wu);惚(hu)兮(xi)倪兮(xi),其(qi)(qi)中有象;窈兮(xi)冥(ming)兮(xi),其(qi)(qi)中有精。”以及第四十三(san)章(zhang)(zhang)所言(yan):“無(wu)(wu)有入無(wu)(wu)間。”