北宋之后：元好问与中国诗歌传统

【作者】 颜庆餘；

【导师】 章培恒；

【作者基本信息】 复旦大学 ， 中国古代文学， 2008， 博士

【摘要】 這篇論文的主題是元好問詩的文本批評,即校理、分析、詮釋和評價元好問詩。這裹的文本批評並不把作品視為獨立自足的結構,而是将作品置於詩歌傳統的構成中,在傳統的觀照中試圖更好地理解詩人及其作品。為了避免宏觀視角的空疏和教條,這篇論文引入中層理論,将詩歌傳統拆解成若干亞傳統,在這些亞傳統的語境中討論元好問詩中相應的各類詩篇。具體說来,這篇論文由以下幾個方面討論元好問詩。題畫詩。繼杜甫、蘇軾、黃庭堅之後,元好問成為題畫詩寫作中最重要的詩人之一,他在沿革傳統中發展出諸多值得注意的特徵。其山水類題畫詩通常引入個人回憶和感想,並在杜甫的基礎上發展一種進入畫面的想像性視角;其故實類題畫詩經常繞過圖畫,展開獨特的議論和嚴肅的道德思考;其人像類題畫詩充滿自我的反思和期許,並思考士的出處問題;其狀物類題畫詩強調繪畫物象的寓意,正如詠物詩一般。概括地說,在元好問的題畫詩中,詩歌與繪畫在“言志”的古老傳統中達成殊途同歸的關係。詠史詩。在詠史詩的歷史上,用典方式具有一個由簡易到複雜的進程。從漢魏至北宋,詠史詩的用典通常局限於孤立的詩句中,或者是堆垛式的羅列。元好問發展了詠史詩用典的新方式,圍繞著一個詠史懷古的主題,引入一組相關的歷史典故或文學文本,造成複雜的文本間性。山水詩。山水詩的傳統只是一種現代學術建構,包含了一個選擇和排擠的過程。在這一傳統中,元好問與蘇軾等詩人一樣處於邊緣位置。與王維等經典山水詩人迥異,元好問的山水詩充滿強烈的抒情力度和詮釋意味,其中的山水描寫多是有我之境。元好問的山水詩,可以成為我們藉以反思山水詩傳統的一個案例。七言律詩。在七律的領地中,最具風格特徵的三家是杜樣、昆體與江西派。從虛字、拗調的頻繁使用,以及連續性句法和章法的追求上說,元好問更加接近江西派。元好問七律的另一個特徵是,過度使用變格,從而成為套語。五言古詩。元好問建構了一種符合自己詩學理想的五古譜系,以風雅正體為標準,以陶淵明、蘇軾等詩人為代表。在其五古寫作與有關五古的批評中,元好問表現出推崇並遠離陶淵明、批評並接近蘇軾的風格。這種悖論決定了元好問五古的基本面貌。樂府詩。在諸種詩歌傳統中,樂府詩的傳統可能是最具規範性的一種,並且是最經常令人感覺過時的體裁。與北宋之後很多詩人不同,元好問對樂府詩保持一定的興趣,留下一定数量的作品。在元好問手中,樂府詩既在主題等方面顯得陳舊,又在詩體等方面表現出開放性。新還是舊,難以一概而論。引用的行為。在北宋以来詩歌所有權觀念盛行的語境中,元好問公然頻繁地引用舊句入詩,是逾越規矩並招致詬病的行為。究其緣由,元好問的非法行為出於個人詩學取徑的歧路,他一方面認同黄庭堅的博學主張,希望在廣泛閱讀、博採眾長的基礎上,推陳出新,自成一家,另一方面又信從蘇軾對所有權的戲譴,引用舊句而非自鑄新辭。作為外一篇的詞序。在中國古代充滿等級色彩的文體觀念中,詞作為低級文體,具有一個向詩進化的過程。這一過程在詞序上的表現是,詞序的發展象詩題一樣從無到有,從簡易到複雜。元好問是這一進程中的重要一環,他的詞序既可以交待寫作背景、載錄史料,訓釋典故詞語,也可以與正文形成敍事與抒情互相配合、散筆與韻語互相對照的結構。更多还原

【Abstract】 This thesis is a textual study on Yuan Hao-wen’s poems, including collation, analysis, interpretation, and evaluation. In my textual criticism, a poem is not regarded as an independent work, instead, it is discussed in the context of the poetic tradition for better understanding. In order to avoid doctrinism and superficiality resulted from macroscopic view, with the aid of the theory of middle range, this thesis disassembles the poetic tradition into some sub-traditions, and discusses certain poems in the context of corresponding sub-tradition. Speaking in detail, the thesis will discuss Yuan Hao-wen’s poems in the following aspects.Poems on painting. Yuan Hao-wen is one of the most important poets in writing poems on paintings after Du Fu, Su Shi, and Huang Tingjian, and has created some new characteristics when inheriting and innovating the tradition. His poems on Mountain-and-Water paintings are melted with his personal memories and thoughts, often with an imaginary visual angle entering a painting which is developed on the base of Du Fu’s poems. His poems on painting of historical quotation are composed of unique remarks and serious meditation upon morals, without direct mention of the paintings. His poems on portrait paintings are full of self-reflection and self-expectation, often with meditation on the intellectuals’ (Shi’s) choice about reclusion and engagement. His poems on paintings depicting objects usually have an emphasis on implied meanings of the objects painted, as like intoning-object poems have. Briefly speaking, in Yuan Hao-wen’s poems on paintings, poetry and painting have a consistent relationship in the archaic tradition of poetry expressing mind.Poems on history. In the history of poems on history, methods of allusion have developed from easy to complex. From the Han and Wei Dynasty to the North Dynasty, allusions of poems on history were usually limited in a line, or just piled up simply. Yuan Hao-wen developed a new method of allusion in his poems on history, namely introducing a series of related historical or literary allusions on a historical theme, with the result of complicated intertextuality.Poems on nature. The tradition of poems on nature is a construction of modern scholarship, followed with a process of choosing and repelling. In such a tradition, Yuan Hao-wen, with Su Shi and other poets, was located on the edge. Different from classical poets on nature like Wang Wei, Yuan Hao-wen’s poems on nature are filled with strong emotion and interpretation, with self-involved landscape. Discussion on Yuan Hao-wen’s poems may help us reconsider the tradition of poems on nature.Septasyllabic Regulated Verse. In the realm of Septasyllabic Regulated Verse, the three most prominent styles are of Du Fu, Xikun poets, and Jiangxi School. As far as non-significant characters and abnormal tones used frequently, and continual syntax in pursuit are concerned, Yuan Hao-wen is similar with Jiangxi School. In addition, Yuan Hao-wen is accustomed to use variation excessively, with the result of Cliche.Quinsyllabic Ancient Verse. Yuan Hao-wen has constructed a genealogy of quinsyllabic ancient verse, with Feng Ya(风雅) as the standard, and Tao Yuanming and Su Shi as the representatives. In his writing of and criticism on Quinsyllabic Ancient Verse, Yuan Hao-wen esteemed and was different from Tao Yuanming, while disparaged and was similar with Su Shi. This paradox resulted to the fundamental style of Yuan Hao-wen’s Quinsyllabic Ancient Verse.Yuefu Poems. The tradition of Yuefu poetry, perhaps, is the most normative one in all kinds of poetic traditions, and the most obsolete genre in some people’s viewpoint. Different from many poets of the North Dynasty, Yuan Hao-wen was interested in Yuefu poetry to some degree, and wrote some poems. Yuan Hao-wen’s Yuefu poems are obsolete in subjects, at the same time, open to new poetic forms. It’s difficult to say if his Yuefu poems are obsolete, or fashionable. Citation of poetry. In the context of the change of poetic idea in the North Dynasty, Yuan Hao-wen’s citation in his poems boldly was illegal and had incurred criticism. The reason of his illegal behavior is that he came into some kind of branch road. He appreciated Huang Tingjian’s viewpoint that learned scholarship was good for innovation of poetry, at the same time, he believed in Su Shi’s tease with ownership of poetry, with the result of quoting ancient verse, not making new lines.Preface of Ci poetry. In the ideology of classical genres, Ci poetry, as a preliminary genre, had experienced an evolutionary process towards poetry. In this process, preface of Ci poetry developed from non-existent to existent, from succinct to complex. Yuan Hao-wen is an important link of the advancement. His preface of Ci poetry had some functions, like explaining backgrounds, recording historical materials, interpreting allusions and words, especially working in coordination with main text, with the result of a structure containing both narrative and lyric, both prose and verse.更多还原