清初咏物诗研究

【作者】 刘利侠；

【导师】 霍有明；

【作者基本信息】 陕西师范大学 ， 中国古代文学， 2011， 博士

【摘要】 在清诗研究中,有很多尚待开发的领域,清初咏物诗研究便是其中之一。本文以清初顺治至康熙四十年约六十年间的咏物诗创作为研究对象,揭示其中所蕴含的人性、艺术、思想、文化等方面的内涵。本文的结构分上编“总体论”和下编“作家论”,由绪论和正文九章构成。上编中之绪论,主要揭示论题的研究目的和意义,以及该论题的研究现状。第一章,考察咏物诗的源流和传统。主要从咏物诗的产生、艺术手法的演变和思想文化的影响几方面展开论述。第一节为咏物诗探源,指出咏物诗是中国最古老的诗体之一,最早可追溯到《南风》、《卿云》等古逸诗。原始歌谣中的《弹歌》,是最古老的咏物诗。《诗经》的赋比兴传统和《易经》中的“观物取向”、“立象以尽意”,都对咏物诗产生了决定性的影响。而咏物诗所体现出的人与自然与生俱来的亲密,是由农耕民族的性质决定的。第二节围绕赋、比、兴的艺术传统展开,讨论其产生、内涵以及在咏物诗艺术表现中的主导作用和发展演变。第三节从儒、释、道三家的自然观中论,分析其所赋予咏物诗的不同审美内涵和人文精神。第二章,清初咏物诗思想通论。本章将清初咏物诗作者分为遗民、贰臣、承平诗人三个创作群体进行研究。第一节,讨论清初咏物诗中的遗民精神。首先对清初遗民咏物诗的思想内涵进行了分析,并将其与清前尤其是宋代遗民咏物诗的思想进行对比,揭示其所蕴含的时代精神。第二节,讨论清初咏物诗中的贰臣心理。在对清前贰臣咏物诗思想略作考察之后,选取清初贰臣中最具代表性的钱谦益、吴伟业、龚鼎孳三家咏物诗中的贰臣心理进行分析,并且针对当下贰臣文学研究中人文关怀的缺失进行了反思。第三节,探讨承平诗人的咏物诗,从宦海沉浮和润饰太平两方面,选取宋琬、施闰章、王士禛、朱彝尊等人的咏物诗创作展开分析。第四节,对清初咏物诗思想的发展趋势进行了概括。第三章,清初咏物诗艺术研究。第一节为清初咏物诗题材论。从清初咏物诗的题材概况、时代特征和对传统咏物诗题材内涵的丰富和深化三方面展开讨论。第二节,将清初咏物诗的艺术特征归纳为如下三方面：比兴为上的艺术追求、“人情”与“物理”的完美结合、体物与抒情兼顾的典故运用。第三节,讨论清初咏物诗的审美意识,指出清初咏物诗的审美,经历了“立象以尽意”、“物我合一”和“澄怀味象”三个阶段。第四章,清初咏物诗学研究。清初诗学受到社会动乱的影响,首先表现为儒家现实主义精神的回归；其次,清代又是中国古代诗歌的最后阶段,具有数千年文学创作的丰厚积淀,诗歌传统的艺术精神也无疑得到继承和强调。王夫之诗学是诗歌现实精神与艺术美的统一。他于文学讲求“匡维世教”,于咏物崇尚“比兴”,同时又提出“内极才情,外周物理”的艺术追求。其关于情景关系所作的探讨,是对古代诗歌抒情性和艺术性的高度总结。王士禛的“神韵说”,是承上启下的诗学观。从含蓄蕴藉地抒情,超远平淡地写景,到最终无病呻吟、言之无物,正好阐释了康熙年间诗歌的发展趋势。康熙御制的《佩文斋咏物诗选》,以诗教为先,具有强烈的政治功利性。但因此对咏物诗文学特质的论述,打破了前人将咏物诗与齐梁宫体诗相提并论的偏颇,具有较高的认识价值。这部咏物诗选集,对于了解古人的咏物诗观念意义重大,其体例也多被后来的选本所继承。下编中之第五章,为王夫之咏物诗专论。《落花诗》是王夫之的代表作,以其强烈的政治意识而著称。第一节缘此展开,从诗学观念和情感诉求两方面进行了探讨,并对其作品中蕴含的政治内涵作出分析。第二节,从创作精神、思想内涵和艺术手法三方面,对王夫之咏物诗和屈骚所蕴含的共同文学品质进行发掘,揭示在共同的地域文化哺育下两位末世英才人格与追求上的暗合与默契,以及传统民族精神所具有的顽强生命力在新时代所绽放的异彩。第六章,钱谦益咏物诗专论。咏棋诗是牧斋独具特色的诗歌题材,不仅记录了其在抗清各个时期的情感历程,且围棋特殊的文化和哲学内涵,正是对其人格性情的最佳阐释。此外,钱谦益尚有红豆诗、雁字诗、落叶诗和咏柳诗等,都具有探讨的价值。第七章考察吴伟业“梅村体”诗歌中的咏物诗,揭示其中极为突出而往往被评论家所忽视的生命意识。“梅村体”将咏物诗篇幅拉长,其思想内涵和表现手法都有极大的丰富和创新。本章选取其《宣宗御用戗金蟋蟀盆歌》和《白燕吟》作了思想和艺术的集中探讨。第八章,王土禛咏物诗专论。王士祺被称为开一代风气的“骚坛宗主”,不论其在诗坛或政坛所取得的成就,都与《秋柳诗》有极大的关系。对于《秋柳诗》解读,历来各执一词,本章于此也试加分析。《秋柳诗》的出现,在文学史上具有特殊的意义。其哀婉悲情的基调、怀旧伤今的主题,赢得了遗民诗人的赏识；其含蓄蕴藉的表达和温柔敦厚的美感,则与康熙所倡的诗教观念相契合。可以说,此诗既是对清初遗民诗主题和情感的继承和总结,也蕴含着新的时代精神。王士禛入仕之后诗风大变,从意气奋发到歌颂升平,最终变为无病呻吟,了无趣味,被后人称为“一代宗师才力薄”。本章对其“神韵”观在咏物诗中的表现也进行了分析,并对其晚年的创作进行了平议。第九章,探讨清初三位重要遗民诗人的咏花诗。咏花是清初遗民咏物诗中最为普遍的题材,其中既包含着遗民共同的心理诉求,也表现出不同创作者的个性特征。归庄通过逐花、看花的疏狂,忘记现实痛苦,实现眼前美好的生命体验；余怀“看花诗”则具有一种浓重的伤感和怀旧情绪,表现对旧朝繁华的赞美和对青春放浪生活的留恋。屈大均诗中的梅、菊,在更多时候则是其人格象征和生命的体验。更多还原

【Abstract】 In the studying poems of Qing dynasty, a large number of fields are yet to be explored and the studying dinggedicht of early Qing dynasty is one of them. This paper targets the dinggedicht creation of almost 60 years from Shunzhi, an emperor in early Qing dynasty to Kangxi, an emperor in 1701 and discovers the connotations of humanity, art, ideology and culture embodied in the poems.The paper is divided into two major parts and composed of introduction and 9 chapters. The introduction of the part I mainly discusses the purpose and meaning of studying this topic and the situation of study.In chapter one, it traces the roots and traditions of the denggedicht and is extended by the following aspects including origins of the denggedicht, the transformations of means of artistic expression and the influences of ideology and culture. The first section explores the roots of the denggedicht, one of the forms of ancient Chinese poems and the early traces of denggedicht can be found in the poems, such as Nanfeng, Qingyun and etc. Tan Ge is the first denggedicht in original ballad. The traditional figures of speech, Fu, Bi and Xing, in the Book of Songs and the main idea of "image obtained from observing the object" and "image established to show inner meaning" in the Book of Changes all have the decisive influence on the denggedicht. The inborn intimacy between the human beings and the nature embodied in the denggedicht is decided by the character of farming nations. The second section discusses the origin and connotation of Fu, Bi and Xing and its guiding rule and the development in the means of artistic expressions of denggedicht. The third section states the outlook on nature respectively from the perspective of Confucianism, Buddhism and Taoism and analyzes the different aesthetic connotation and humanism entrusted by their opinions about the nature on the denggedicht.The chapter two is the general introduction of the denggedicht in early Qing dynasty. This chapter divides the denggdedicht into three writing groups to study, including remnants of former dynasty, turncoat officials and ad vocation of peaceful and stable period. The first section states the remnant spirits of denggedicht of early Qing dynasty and then analyzes the ideology connotation of remnant denggedicht of early Qing dynasty and compares the ideology of remnant denggedicht between the early Qing dynasty and pre-Qing dynasty, especially Song dynasty to discover the spirit of time. The second section talks about the mentality of turncoat officials of denggedicht of early Qing dynasty. After the investigation of ideology of denggedicht of turncoat officials in pre-Qing dynasty, the author chooses Qian Qianyi, Wu Weiye and Gong Dingzi, the typical representatives of turncoat officials in early Qing dynasty to analyze the mentality of turncoat officials and discuss the lack of humanistic care in the current literary studies of turncoat officials. The third section goes into the discussion of the denggedicht in peaceful and stable periods and also divides the poems into two parts including the ups and downs of eunuch and retouching the peaceful periods. It extends its analysis through the denggedicht from Song Wan, Shi Runzhang, Wang Shizhen and Zhu Yizun. The forth section is the general summary of the tendency and development of ideology of denggedicht of early Qing dynasty.The third chapter is the artistic study of denggedicht of early Qing dynasty. The first section is the descriptions of the denggedicht themes of early Qing dynasty and discusses the three aspects including the general situation of themes, the characters of the ages and enrichment and deepening of the connotations of themes of traditional denggedicht; the second section divides the artistic achievements of denggedicht of early Qing dynasty into three aspects:artistic pursuit of mainly using Bi and Xing, the perfect combination between human feelings and objects and the original applications of allusions; the third section discusses the aesthetic features of denggedicht of early Qing dynasty and points out that the aesthetic consciousness experiences three phases including "image established to show inner meaning", "identity of object and self" and "appreciation of the object by purified mind".The chapter four is the research of the denggedicht of early Qing dynasty. Firstly, the poetics of early Qing dynasty influenced by unstable society is the return of Confucian realism poetic spirit; second, the Qing dynasty, as the last phase of Chinese ancient poems inherits profound and rich literal accumulations and definitely emphasizes and carries out the traditional artistic spirit of poems. The poetics from Wang Fuzhi is the integration between the realistic spirit and artistic beauty of poems. For literature, he thinks that it should correct the wrong ideology and support the orthodox; for denggedicht, he advocates the Bi and Xing and he also requires the artistic pursuit of "the nature of outside objects can be reflected by inner subjective creativity". The relationships between the scenes and the emotions discussed by him are the general summaries of lyricism and artistry of ancient poems. The "theory of verve" from Wang Shizhen is the transitional poem concept. The development of poems first is to express one’s emotion implicitly and then insipidly describe the scenes and finally just put on an act but no ideas and is just the best illustration of development tendency of poems in Kangxi period. The collection of denggedicht in Pei Wenzhai made by the emperor, Kangxi gives priority to the poem teaching and is pervaded with the strong politic utility. However, the discussions of the literal features of denggedicht break the prejudice of similarity between the denggedicht and court poems in Qi and Liang, so it has considerable high value on understandings. This anthology of denggedicht is significant to understand the concept of denggedicht of the ancients and its styles are often carried forward by the later selected works. The chapter five in the part II is the monograph for the denggedichr from Wang Fuzhi. The fallen flower is the representative poem from Wang Fuzhi and is famous for its strong politic awareness. Based on this problem, the first section mainly explores it from the concept of poetics and emotional appeal and also analyzes the politic connotations embodied in the works. The second section, from the perspective of creative spirit, ideological connotation and the means of artistic expression, digs the common literary characters embraced in denggedicht from Wang Fuzhi and Li Sao from Qu Yuan to uncover the tacit cooperation and coincidence of two poets cultivated by the same culture and the incredible vitality of traditional national spirit and its spectacular glories in the new era.The chapter six is the monograph for denggedicht from Qian Qianyi. The poems about Weiqi, as the unique themes in Muzhai collections not only record the emotional history of each period in the war of anti-Qing dynasty but the special culture and philosophical connotation of Weiqi is the best reflection of its personality and disposition. Besides that, the poems depicting the red bean, the geese, deciduous leaf and willow trees written by Qian Qianyi all possess higher art value.The chapter seven targets the denggedicht from the poems with "Meicun style" of Wu Weiye to disclose the highlighted life consciousness but often neglected by critics. The poem with "Meicun style" spreads the pages of the dneggedicht and its ideological connotation and means of expression are greatly enriched and innovated. This chapter chooses the song of cricket basin with gold inlay made by Xuan Zong and Bai Yanyin and focuses the discussion on the ideology and art.The chapter eight is the monograph for denggedicht from Wang Shizhen who is one of the most important poets in early Qing dynasty and hailed as suzerain in the poetic circle. The achievements both in poetic circle and politics are all greatly related to the Qiu Liu Poems. For the interpretation of this poem, each sticks to his argument and the author also makes some simple analysis about it. The appearance of this poem is specially significant in the history of literature. The poem with tones full of pathetics and sentiments, the themes with nostalgia for the past and sorrow for today wins the approvals of the remnant poets and its implicative expression and gentle aesthetic feeling just coincides with the poetic education concept proposed by Kangxi. But more than that, the poem inherits and summarizes the themes and emotions of remnant poems of early Qing dynasty and also embraces the new spirit of the times. Great changes took place in the style of his poems since Wang Shizhi became an official and he was also called "a master with weak ability" because his poems degraded from the high-spirit and vigorousness to compliments of peaceful world and finally to making a fuss and boringness. After the comprehensive investigations of Qiu Liu Poem, this chapter analyzes the "the romantic charm" described in the work and gives some comments about the writings of his later years.The chapter nine is both the monograph for themes and for writers. Flower poems are the universal themes in the remnant denggedicht of early Qing dynasty and they include the common psychological appeals and depict the individualities of the authors. Gui Zhuang temporarily forgets the pains of the world through indulging himself into appreciating the flowers and finally realizes his wonderful life experience; "observing flowers poems" of Yu Huai with strong sentiments and nostalgic emotions imply the compliments for the prosperity of the old kingdom and attachments for the free life in the youth. The plums and chrysanthemums in the poems from Qu Dajun are more of the symbols of personalities and life experience. The flourish of observing flowers poems should be attributed to the elements of southern climate and continuation of the cultural heritage of later Ming dynasty on the remnants.更多还原