【作者】 徐拥军；

【导师】 杨海明；

【作者基本信息】 苏州大学 ， 中国古代文学， 2010， 博士

【摘要】 隐逸与文学的结缘最早可追溯到春秋战国时代,中国最早的诗歌总集《诗经》里便有几首写到隐逸的作品,此后,隐逸成为历代文人抒写的重要题材。隐逸与词的结合在早期的敦煌词中就已出现,中唐时在文人词体制确立过程中扮演了较为重要的角色,并最终形成了隐逸词这一大词的门类。本文将对唐宋隐逸词史进行勾勒叙述,展现不同阶段隐逸词的风貌。第一章主要论述唐五代北宋前期隐逸词。第一节对唐五代的隐逸词进行梳理,并分析唐五代隐逸词的创作特点。第二节论述北宋前期隐逸词的创作概况,重点论述柳永的隐逸词。羁旅行役和贬谪是隐逸词创作的诱导因素,失意的词人脱离了歌宴酒席的环境,使他们完成了温柔乡向水云乡的转变,柳永的创作是这种转变的标本。第二章论述北宋中后期的隐逸词。北宋中后期社会矛盾开始激化,为缓解社会矛盾,有志之士开始进行社会变革,但不幸的是这种改革却陷入了士大夫之间的意气之争,引发了一轮又一轮的党争。畏祸及身的心理使他们开始主动寻求解脱,隐逸或对隐逸的向往是对仕途厌倦的愿望表达。在这种背景之下,隐逸词的创作开始兴盛起来。另外,此时的宋词在创作观念上也发生了一些变化,苏轼拿起以诗为词的武器,引导了词的新一轮改革,这也是北宋中后期隐逸词兴盛的原因之一。这一时期苏轼和晁补之的隐逸词是这个时期创作的代表,清旷是苏轼隐逸词的主要特色,晁补之一方面发展了苏轼的风格,另一方面又将内心的愤激之情掺入其中,成为苏辛之间的桥梁。另外黄庭坚等人也创作了不少隐逸词。第三章论述南渡时期的隐逸词。金人的入侵将歌舞升平的士大夫们推向了流离失所的灾难生活当中,有志之士们纷纷投入战斗以求取得抗敌救国的胜利,但是随着形势稍有好转,统治者们便抱定坐稳半壁江山的决心,以求和换取苟且的安定。抗战的斗士们被主和派纷纷排挤出朝,或贬或害；还有一部分干脆做起隐士来,过着眼不见心不烦的逍遥自在的生活,于是隐逸便成了他们的精神避难所。这时期的隐逸词人有朱敦儒,叶梦得、中兴四大词人,张孝祥等人。朱敦儒以其创作使隐逸词的创作发展到一个新的阶段。潇洒闲适,语言浅近的希真体是朱敦儒的隐逸词的主导风格。另外一部分词人继续着苏轼的风格。第四章论述南宋中后期的隐逸词。这一时期隐逸词创作的一个较为明显的现象是东坡风与希真风的流衍,文中归纳了这两种现象,并探析了个中的原因。另外,这一个时期和战的矛盾仍然是社会的主要矛盾,陆游和辛弃疾两位隐逸词创作的大家,便是这种斗争下的悲剧性的人物。陆游的隐逸词有沉郁逋峭和闲适淡然两种风格,这与他徘徊在儒道之间的思想个性有关；辛弃疾的隐逸词则表现为悲慨苍凉下的超旷放达,这与他的英雄心态与谪居心态有关。第五章继续论述南宋中后期的隐逸词。这一时期的隐逸词有些是对前一阶段隐逸词的延续,吴潜、刘克庄是这个时期的代表,基本上继承的是辛词的风格,却又表现出诸多不同。另外值得重视的是寒士词人的隐逸词,他们表现出不同于仕宦词的隐逸心态和审美风貌。当然最有特色的词家是姜夔,他的隐逸性格与词风生成关系密切,直接导致了他清空淡远的词境和高洁的词品。第六章论述南宋遗民词人的隐逸词。这个时期的隐逸词颇代表了遗民的心态,在抒写隐逸之时难以忘却的是对故国的深情,以及表现出来的对于人生价值失落的无奈、对历史的反思和责任的消解的重新选择,他们希望构建一个清雅的隐居环境来安顿自己的心灵。张炎是这个时期的代表,他的隐逸词体现了他的清空的审美思想,“伤痕与追忆：超越的沉重”、“还乡与重构：精神的栖居”是他隐逸词的两个重要主题。张炎的《词源》可看作宋词的理论终结,其中的“清空”说与隐逸文化密不可分,文中通过考察解释清空的“古雅峭拔”一词的含义,发现张炎此语不仅通于论词也通于论乐和论画,因而找到了“清空”说与文人画“逸”格的内在关联,从而使张炎对唐宋诸词家的评价问题得到一个合理的解释。更多还原

【Abstract】 Reclusion becoming attached to literature may early trace to the Spring and Autumn Period and Warring States period. There are a few poems about reclusion in "The Book of Odes", the earliest Chinese poetries. Hereafter, reclusion has become an important theme to ancient writers. The combination of phenomenon of Reclusion and Ci-poem appeared in the early Dunhuang Ci-poems. The authors in the middle Tang Dynasty were playing an important role in the establishment of literati Ci-poem system establishment and eventually formed the style of Reclusion-Ci, one of categories of Ci. This paper will describe the outline of the history of Reclusion-ci both in the Tang and Song Dynasty and show different styles of Reclusion-Ci in different stages.The first chapter mainly elaborates Reclusion-Ci during the period of Tang and Five Dynasties and early Northern Song Dynasty. The first section discusses the Tang and the Five Dynasties Reclusion-Ci and analyzes its characteristics of creation. The second section deals with the survey of Reclusion-Ci during the period of early Northern Song Dynasty and mainly introduces Liu Yong,whose Reclusion-Ci are on half of a change from the women’s world into the mountains and rivers’s world. The official trip and the relegation induce the frustrated liberators to create Reclusion-Ci. And at the same time, they departed from the feasts and banquets so they had much more opportunities to contact with nature.The second chapter discusses the Reclusion-Ci during the period of the middle and late Northern Song Dynasty. Many excellent people began to reform in order to alleviate these various social problems. However unfortunately, lots of scholar-officials were trapping into disputing with each other so as to trigger many rounds of struggles among parties. The fears from the political struggle made them begin positively to seek relief. Reclusion or desire for Reclusion deeply expressed their tiresome of politics. In the light of this background, the creation of Reclusion-ci began to thrive. In addition, the concepts of creation on song-ci have changed. Su Shi led a new round reform in the Ci-poem field by the way writing Ci just like wring poem, which is one of the reasons for reclusion-ci’s thriving during this period. Su Shi’s and Chao Buzhi’s Reclusion-ci were the representatives of this period. Su Shi’s Reclusion-ci are Clear and open-minded, and Chao Buzhi develops Su Shi’s characteristics and builds a bridge between Su Shi and Xin Qi-ji by mixing into cynical inner feelings. Besides, Huang Ting-jian and other writers also have created a plenty of reclusion-ci.The third chapter main discusses Reclusion-Ci during transition period. Due to pleasure life damaged by the invasion of the army of the Jin Dynasty, people full of ambition fighted against the enemy bravely in order to obtain a victory for national salvation. However, with the establishment and stability of the regime, rulers began to give up fighting and those who insisted on fighting had been squeezed out of imperial court, so Recluse became their spiritual sanctuary. The authors of this period were Zhu Dun-ru, Ye Meng-de, Li Gang, Li Guang, Zhao Ding, Zhang Xiaoxiang etc. Zhu Dun-ru represented a new stage in Reclusion-Ci’s creation with his unique style of leisure ideas and simple words. Another part of authors inherited Su Shi’s style.The fourth chapter is about the Reclusion-Ci during the middle and late Southern Song Dynasty. It is an obvious phenomenon that learning Su Shi’s and Zhu Dunru’s styles were very popular at that time. This chapter will summarize this phenomenon and analyze the reasons. In addition, the peace and the war were still the main problems of society. Lu You and Xin Qi-ji, the two authors’of Reclusion-Ci, are such tragic figures under the struggles. Lu You’s Reclusion-Ci has two kinds of styles—depressed and leisure, and these are related with his ideas of Confucianism and Taoism. Xin Qi-ji’s Reclusion-Ci expressed his open-minded under desolate and indigangt feelings, which related with his attitudes for heroes and relegation mentality.The fifth chapter continues to discuss the Reclusion-Ci of the middle and late Southern Song Dynasty. The style of the previous stage lasted in this period. The representative authors are Liu Ke-zhuang and Wu Qian. They inherited Xin Qi-ji’s style but showed a lot of differences. Moreover, we also should pay much attention to the poor scholar writers, who showed different attitudes and aesthetics about Reclusion-Ci compared to official authors’. Of course, the most distinctive writer is Jiang Kui whose reclusive characteristics affected his Ci-poem style and directly trend to "clear and meaningful" mood as well as noble and unsullied styles.The sixth chapter deals with the Reclusion-Ci of the survivors of the Southern Song Dynasty Ci-poet. Their works represent the survivors’complex inner feelings of that period. Their works tell us their deep affection of lost motherland, the helpless of the lost of life value and the reflection of history and the re-choice of deprived responsibilities.They hope they can build an elegant seclusion place to settle their own hearts and minds. Zhang Yan, was a representative, whose Ci-poem reflected his "clean and leisure" aesthetic at this period. "Distressed and Remembrance:Overstep heavily","Return of the Native and Reconstruction:the spirit of the Dwelling" are the major themes in his Ci-poem. Zhang Yan’s "Ci-Yuan" can be seen as the ending of Song Ci and of" clean and leisure "theory and reclusion culture are inseparable. Through the studies, we find that the words "clean and leisure" used to explain "Guya Qiaoba" are also been applicable of music and painting. Therefore, We find the relations between "clean and leisure" theory on Ci-poem and "relax’on Literati’s painting so that we can gain a reasonable explanation to Zhangyan’s evaluation on the Tang and Song Ci-poets in "Ci-Yuan".更多还原