唐代乐府诗研究

【作者】 王立增；

【导师】 王小盾；

【作者基本信息】 扬州大学 ， 中国古代文学， 2004， 博士

【摘要】 與漢魏六朝樂府詩的研究相比，學術界對唐代樂府詩的研究相對滯後。本文以唐代的文人樂府詩為研究對象，對其發展的歷史、寫作動機、與音樂的關系、創作方式和體性特徵進行了細致深入的研究。 唐代樂府詩發展的歷史，可分為三個階段：(1)、初盛唐是舊題樂府詩從承襲走向高潮的階段。初唐的樂府詩創作，大體上是沿襲齊梁陳隋樂府詩。武後時期，樂府詩開始律化、歌行化和絕句化，逐漸形成了“樂府備諸體”的局面。轉入盛唐，樂府詩在表現手法上由客觀變為主觀。初唐較少擬寫的清商曲題目，在盛唐出現了大量擬辭，這與出生於江南的文人及文人遊歷江南受民間文化的影响有關。盛唐時期對舊題樂府詩的全面擬寫，意味著舊題樂府詩達到高潮；(2)、中唐是新題樂府詩走向繁榮的階段。大歷時期，新、舊題樂府詩互相消長，代表著舊題向新題的轉變。新題諷諭樂府詩在中唐的出現，既有社會因素的影响，又是樂府詩自身發展的結果。它的重要意義在於使樂府歌辭完成了倫理改造，和詩一樣具備了諷諭功能。中唐新題樂府詩的繁榮，不僅僅局限在新題諷諭樂府詩方面，還表現在其它題材和風格的新題樂府詩；(3)、晚唐是樂府詩衰落的階段。豔體樂府詩在晚唐復興，但多采用詠史諷世的手法，與梁陳豔體樂府詩有著本質的區別。晚唐樂府詩中重復雷同、翻案背題、主觀議論的現象突出，形式上則進一步徒詩化，標志著樂府詩在唐末衰落。 唐人寫作樂府詩的動機，主要有提高寫作技巧、用於獻詩或行卷、唱和、應酬、感懷、陳詩觀風及復古等。 唐代文人樂府詩絕大多數是不入樂的，代表了樂府詩發展歷史上辭樂疏離的階段。唐人寫作樂府詩的主要方式是模倣。模倣不是亦步亦趨的抄襲，而是孕含著創造性的一種寫作方式。唐人寫樂府詩模倣的源頭在於民間流傳的歌辭，而在魏晉南北朝文人的反復擬寫過程中凝結成各種程式。它包括：以歌辭首句前數字或再加上歌辭性題目的方式來命題；在題材上既有繼承又有發展；在形式上模倣前代樂府歌辭並留有入樂痕跡。本文又分別對《巫山高》的擬寫、王昌齡的《出塞》和高適的《燕歌行》以及李白的樂府詩三個個案進行論述。 在唐代，樂府詩穩固地成為“詩之一體”，其體性特徵是“擬歌辭”。這一界定表明了它與前代的樂府歌辭的傳承關系，也有利於唐詩分類體系的重構。樂府詩中的歌辭性題目具有亞文體意義：“行”詩篇幅長，重諷諭；“篇”詩不入樂，標志著樂府詩由樂工進入文人視野；“歌”詩重抒情，應酬功能強；“曲”詩多是入樂歌辭，體製短小；“樂詩”多是舞曲；“怨”詩多是不入樂的文人詠嘆之作。 此外，附錄《唐代郊廟歌辭考論》一文對前人很少涉足的唐代郊廟歌辭進行了初步研究。更多还原

【Abstract】 Compared with the research on Yue-fu poems of Han and Six Dynasties, the research of Yue-fu poems of Tang Dynasty hasn’t received wide attention in general until now. By taking the Yue-fu poems written by the literators of Tang Dynasty as research focus, this dissertation explores its development history, the writing motivation and its connection with music, the ways of creating and features of literary styles.The development history of Yue-fu poems of Tang Dynasty can be divided into following three stages: 1). From the initial to prosperous periods of Tang Dynasty, the classical Yue-fu poems passed on the road from its adoption to climax; namely, at the beginning of the Tang Dynasty, generally speaking, the creation of Yue-fu poems based on the traditional way of writing of Qi, Liang, Chen, and Shui Dynasty; and in the period of Wu Empress; the creation of Yue-fu poems required rather prosodically and versified in styles, and gradually various styles of writing could be employed. When it was in the prosperous Tang Dynasty, the creation styles changed from objective ways into subjective ones. In particular, the Qing-Shang lyrics, which were imitated relatively less by the scholars in the early Tang Dynasty; however, they were imitated rather frequently in the prosperous Tang Dynasty. It was deeply influenced by the folk culture and also associated with some literators born in the South China, and their experience when they rambled around the South China. In the prosperous Tang Dynasty, the simulating Yue-fu poems of previous ages advanced in a full scale. This indicates that the creation of Yue-fu poems reached climax. 2). Yue-fu poems with new styles arrived at its prosperous stage in the middle of Tang Dynasty. Specifically, during the Da Li period, both the classical Yue-fu poems and the new styles ones made their own greater progress. The new ones appeared in the middle of Tang Dynasty, and the overwhelming production of Yue-fu poems with new styles had the classical ones declined remarkably. Especially, under influence of social context as well as owing to their own self-development, the satirical Yue-fu poems with new styles developed in a great deal. The vital theoretical consequence of such changes lie in fact that stimulating the Yue-fu poems contributing to the accomplishment of their theoretical innovation, and the Yue-fu poems parallel to general poems possess their own function of satirizing. Consequently, in the middle Dynasty, the development of Yue-fu poems with new styles was not merely in the way of satirical creation but also in new subjects as well as other themes and styles. 3). Yue-fu poems have begun to decrease in the late period of Tang Dynasty. "Yan-ti Yue-fu poems" revived at this time, but they were created in a way of satire, which distinguished them from the traditional Yue-fu poems. Moreover, Yue-fu poems at this period oftenappeared in the way of repetition of subjects and topics of the same kinds, and the trend of subjective comments was very apparent and they were in poetic forms, which indicated that Yue-fu poems were on the decline in the late of Tang Dynasty.The more powerful motives for Yue-fu poems creation in the Tang Dynasty were to improve writing skills; to present poems; to make social appointments, to carol and chant, to express feelings and emotions, to collect poems and ballads, to survey the social reality and reflect the opinion of return to the ancient time.Yue-fu poems written by the literators of Tang Dynasty weren’t conformed to music; this marked the time when the Yue-fu poems were separated from music. People in the Tang Dynasty composing the Yue-fu poems were mainly in an imitative way, however, it was noteworthy that such imitation was not mean copying and imitating the previous styles slavishly but writing in a creative way. The major resources of imitation for Tang people originated in the works of folk songs that were spread and popular at that time, which were gradually formularized different kinds of poems in the Wei, Jin and North and South D更多还原