朝鲜朝前半期汉诗风演变研究

【作者】 杨会敏；

【导师】 李岩；

【作者基本信息】 中央民族大学 ， 比较文学与世界文学， 2011， 博士

【摘要】 本文从“朝鲜朝前半期汉诗风演变”这一角度切入,不仅对朝鲜朝前半期五大汉诗作家创作群进行群体研究,而且结合朝鲜朝前半期固有的社会时代背景、思想文化状况、汉诗作家群体的诗学观念的转变、汉诗内部的自身发展规律、中朝前代诗歌对朝鲜朝前半期汉诗作家的影响等因素综合探讨了朝鲜朝前半期汉诗风的流转演变。在对各阶段诗人群体的构成及其诗风内涵分析的基础上,揭示了朝鲜朝前半期汉诗风演变的清晰轨迹及诗风流变所蕴含的文化底蕴。全文由导论、五个章节和结语三部分构成。导论部分首先对“朝鲜朝前半期”作出明确的界定,在此基础上,对朝鲜朝前半期汉诗创作的盛况作一整体概观,并将这一时期具有代表性的汉诗作家分为五大诗人群体,以便从汉诗风演变这一角度切入研究。另外,综述了中韩学者关于朝鲜朝前半期汉诗的研究历史与现状,简要说明了本文所使用的文献资料与研究方法,阐述了本文研究的目的、意义。第一章“朝鲜朝前半期汉诗发展的背景描述”从社会政治情势、思想文化状况两方面分期描述了朝鲜朝前半期汉诗发展的背景。为了便于本章的论述,暂且将朝鲜朝前半期又大致分为自朝鲜朝建立至15世纪末、16世纪、17世纪前半期三个时期。这三个不同时期的社会政治情势、思想文化状况都呈现出迥异的面貌,而植根于此的包括汉诗在内的朝鲜朝前半期文学也深受其影响。第二章“朝鲜朝初期：多元整合、兼容并蓄的诗风”分析了朝鲜朝初期多元整合、兼容并蓄的汉诗风形成的背景原因及具体风貌。以歌行而论,不管是从类别,还是从艺术形式上来看,都接近于盛唐歌行,特别是李杜的歌行。另外,卞季良、柳方善等人在具体创作中,还直接效仿李杜的作品。但其喜议论、说理及用典的特征,使得其作品略带宋调。此外,他们还向其他唐代诗人及本国前代诗人学习,也从中国先秦古歌、《诗经》、《古诗十九首》、汉乐府等经典作品中汲取养料,所以,其创作的歌行不仅古朴赡大,而且意蕴丰厚。以除了歌行以外的汉诗创作而论,整体上则体现出以宋调为主,兼俱其它诗风的特征。首先从诗歌主题意蕴方面阐释了朝鲜朝初期诗人除了歌行以外的其它诗体的汉诗创作所体现的宗宋特征,其诗歌主题意蕴可以概括为——具有政治意味的“言志”与具有道学意味的“说理”,而这恰恰准确地把握住了宋诗的本质特征。接着结合其具体作品考察了这一主题思想意蕴在其诗歌创作中是如何体现的,并从诗歌体式、句法格律、炼字用典等方面分析了其呈现出的宋调特征。除了创作了明显具有盛唐风格的歌行,卞春亭、柳方善等人还创作了一些具有盛唐风韵的五律、七绝,内容主要为送别、写景抒情类。除此以外,《诗经》、《楚辞》、汉乐府、《古诗十九首》、魏晋南北朝诗歌都在其效仿学习之列,他们也创作了一些具有这方面艺术风格的汉诗作品。第三章“性理学影响下的宗宋诗风”分别从诗学主张、诗派的构成基础、诗派的审美情趣、诗派的创作模式四个方面探讨了15世纪中叶前后至17世纪前后约150余年间在性理学影响下的两大主流诗派——辞章派与道学派的汉诗创作所体现的宗宋诗风。具体而论,辞章派宗宋诗风可归为三类：第一类是和平淡雅、清劲圆滑型,第二类是险瑰奇健、雄浑苍老型,第三类是以上两种风格兼具型。道学派诗人的作品虽偶有辞气激烈之作,但其主导性的宗宋诗风乃为平淡自然而又意蕴沉厚。第四章“性理学统治之外的异端派代表诗人的另类诗风”探讨了15世纪至16世纪之间出现的在性理学统治之外的以金时习、林悌、鱼无迹等人为代表的“异端派”诗人的另类诗风。异端派诗人的汉诗创作除了具有较强烈的现实批判倾向这一共同特点外,其三大代表诗人的汉诗又各具特色。金时习在博采众家之长的基础上形成了自己自然天成、“变化多端”的独特诗风；林悌虽然也有为数不多的数首诗歌具有宋调,但不会影响他以唐诗风为主旋律的汉诗创作,其诗歌清新疏朗、豪迈俊逸,意境高远、表达流畅,深入而能浅出,自然天成,在俊爽峭健中又有风华绮靡之致；鱼无迹的诗歌大都明显呈现出“宋调”气息,也有少量作品属于典型的唐调,诗人能以其生命中与天地并立的刚大之气统摄全篇,其诗具有雄健富赡之美。第五章“冲决主流：宗唐诗风的振起”探讨了从15世纪末叶至17世纪中叶宗唐诗人群崛起的背景原因及其代表诗人的汉诗创作所体现的宗唐风貌,对属于庶民阶层的平民诗人和女流诗人的汉诗创作所体现的宗唐倾向也作了概述。结语部分总结梳理了朝鲜朝前半期汉诗风演变轨迹与诗风流变所蕴含的思想文化底蕴以及朝鲜朝前半期汉诗风取向对朝鲜朝后半期汉诗风倾向所造成的四方面影响,并对朝鲜朝前半期汉诗风演变中一些具有普遍意义的问题进行简要的概述与说明。更多还原

【Abstract】 This dissertation, employing the method of cohort study, aims to study the five groups of Chinese poets and tries to comprehensively discuss the evolution of the style of Chinese poetry from the angle of "the evolution of the style of Chinese poetry in the first half of Joseon Dynasty" combined with the social background, ideological and cultural conditions, and the change of poetic concept of Chinese poetry groups, the law of poetic development within Chinese poetry, the influence of the previous poems of China and Korean Peninsula on Chinese poetry groups in the first half of Joseon Dynasty and so on. On the basis of analyzing the composition of the various stages of poets and the content of their poetic style, it reveals the clear track and cultural meanings of the evolution of the style of Chinese poetry in the first half of Joseon Dynasty. The dissertation is consisted of three parts, including introduction, the main body and conclusion.The introduction, on the basis of making a clear definition of "the first half of Joseon Dynasty", firstly makes an overall overview about the spectacular poetry writing in the first half of Joseon Dynasty, and divides the representative samples of Chinese poets in this period into five groups in order to research on Chinese poetry. In addition, it summarizes the research condition of Chinese poetry by both Chinese and Korean scholars on the poetry of the first half of Joseon Dynasty, makes a brief description of the use of literature and research methods in this dissertation, and elaborates on the purpose and significance of this study. Chapter one describes the evolution of Chinese poetry in the first half of Joseon Dynasty in stages from both the social and political situation and the ideological and cultural conditions. In order to facilitate the discussion in this chapter, it temporarily and roughly divides the first half of Joseon Dynasty into three periods:since the establishment of the Joseon Dynasty to the late 15th century, the 16th century and the first half of the 17th century. The social and political situation and the ideological and cultural conditions in the three different periods show different features, as a result, it influences the literature of the first half of Joseon Dynasty, including Chinese poetry which rooted in this period.Chapter two analyzes the background and specific character of the formation of the multiple-integrated, inclusive style of the Chinese poetry in the early Joseon Dynasty. In terms of Ge-Hing(歌行), whether it is from the categories or from the art form, it is close to the Ge-Hing in the prosperous time of Tang Dynasty, especially to Li Bai’s and Du Fu’s Ge-Hing. Apart from that, Bian Jiliang, Liu Fangshan and others directly follow the poems of Li Bai and Du Fu in their specific creation. But their tendencies for arguments, reasoning and allusion, to some extent, show certain similarities with the features of the Song poetry. In addition to that, they also learn from other poets of Tang Dynasty and the previous poets of their own country, and draw nourishment from ancient poetry of Pre-Qin Dynasty of China, especially The Book of Poetry, The Nineteen Ancient Poems, Yue-Fu poems of Han Dynasty (汉乐府)and other classic poems, therefore, their Ge-Hing is simple, unsophisticated and rich in meanings.In terms of poetry writing, it overall reflects the main characteristics of the Song poetry and other style of Chinese poetry except Ge-Hing. Firstly, it explains poetry writing except Ge-Hing written by the poets of the early Joseon Dynasty that reflects the main characteristics of the Song poetry in aspect of poetic topics. Their poetic topics can be summarized as political overtones of expressing ambitions and New-Confucianism’s overtones of reasoning, which is precisely and accurately the essential characteristics of the Song poetry. Then it studies the ways in which the theme is reflected in specific poems, and analyzes the characteristics of the Song poetry presented from poetic form, syntax, rhyme, words choice, allusions and etc. In addition to creating Ge-Hing with a clear style of the prosperous period of Tang Dynasty, Bian Jiliang, Liu Fangshan and others also have created some Wu-Lv (an eight-line poem with five Chinese characters in a line with a strict tonal pattern and rhyming scheme) and Qi-Jue (a four-line poem with seven Chinese characters in a line and a strict tonal pattern and rhyming scheme) with the style of the prosperous period of Tang Dynasty, whose content is mainly about farewells or scenery. In addition, they learn from The Book of Poetry, Chu-Ci (《楚辞》), The Nineteen Ancient Poems, Yue-Fu poems of Han Dynasty, the poems of Wei-Jin and the Northern and Southern Dynasties, and they have also created a number of Chinese poetry with similar art style.Chapter three discusses two main schools of poetry, Ci-Zhang School(辞章派)and Dao-Xue School(道学派),which reflect a style of the Song poetry under the influence of New-Confucianism before and after the mid-15th century to the 17th century separately from four aspects:poetic propositions, the basis on which the poetic school is formed, the aesthetics and the creative models of the poetic school. Specifically, Ci-Zhang School’s advocating of a style of the Song poetry can be classified into three categories:the first type is peaceful and elegant, smooth, the second type is magnificent, strange, vigorous, old, and the third category is the combination of the style mentioned above. Although the poems of Dao-xue School occasionally have intense flavor, the dominant style the of Song poetry is natural and plain, and of profound implication.Chapter four elaborates on the heretical poets, such as Jin Shixi, Lin Ti, Yu Wuji and others’alternative style of poetry outside the rule of New-Confucianism between the 15th century and the 16th century. In addition to the relatively strong tendency of the common features of practical criticism, three representatives of the heretical poets’are distinctive. On the basis of taking in advantages of others, Jin Shixi forms his own natural, changing and unique style of poetry; although there are few poems with features of the Song poetry, it will not affect Lin Ti’s main theme of Tang Poetry writing, and his poems are fresh, lofty, smooth, natural and of profound implication; the works of Yu Wuji mostly show a tone of the Song poetry, several of his poems are also typical of the atmosphere of the Tang poetry, however, he can completely control the whole writing with great spirit of his contemporary life, therefore, his poems have a vigorous and rich beauty.Chapter five dwells on the background of the rise of the poetic school and the representative poets who advocates a style and features of the Tang poetry. It also outlines the tendency of advocating a style of the Tang poetry in the Chinese poetry writing of civilian poets and women poets which belong to the lower classes.The conclusion makes a summary of the clear track and cultural meanings of the evolution of the style of Chinese poetry in the first half of Joseon Dynasty. The orientation of style of Chinese poetry in the first half of Joseon Dynasty has four aspects of impact on the tendency of the style of Chinese poetry in the latter half of the Joseon Dynasty. Some of the problems in the evolution of the style of Chinese poetry in the first half of Joseon Dynasty with universal significance are also briefly mentioned.更多还原