【作者】 王胜明；

【导师】 祝尚书；

【作者基本信息】 四川大学 ， 中国古代文学， 2007， 博士

【摘要】 本文主体分绪论、正文和余论三大部分。绪论分为六节。第一节对晚唐体的历史地位及研究价值进行了分析和研究，认为晚唐体是中国文学史上影响最大的诗歌流派之一。其创作队伍之庞大、绵延时间之久远，堪称空前绝后，对中国古典诗歌的创作和评论的影响是广泛而深远的。第二节，对国内外研究现状进行了归纳和总结，认为尽管对晚唐体创作个体及某些文学现象的相关研究已经不少，但将其作为一个体系而进行的综合研究依然很少，说明学术界对“晚唐体”的关注度并不很高。第三节从唐诗分期的角度，对晚唐体之“晚唐”进行了考索，认为宋人基本上倾向于将唐诗分为“盛唐、中唐、晚唐”三段，而其“中唐”、“晚唐”与后世“四唐”中的“中唐”、“晚唐”内涵又有所不同，“中唐”通常指大历和贞元前后，而元和后一般就看做“晚唐”了，基于这一认识，人们经常把贾岛、姚合诸人当作晚唐诗人，他们的诗歌或学习他们诗歌风格特色的作品，自然就成了“晚唐体”。第四节对“晚唐体”含义的流变进行了考证，认为“晚唐体”这一名词是伴随着宋人“三唐”观中“晚唐”一语的产生而逐步出现的，这一名词的具体含义在不同的时期也有不同的内容，如严羽认为“晚唐体”专指唐代特有的一种诗体，俞文豹则认为“晚唐体”是流行于南宋的一种特殊诗体。方回对宋人颇多纷争的“晚唐体”进行了归纳和总结，使人们对“晚唐体”有了基本统一的看法。第五节对晚唐体研究中经常出现的“唐诗”、“唐人”、“唐体”、和“晚唐诗”等容易混淆的术语进行了辨析，第六节阐述了本文的主要研究方法。正文分为八章。第一章讨论晚唐体的主要特征，认为冥搜拾句是晚唐体诗人的主要创作方法，“清”境“清”格是晚唐体诗人的审美追求，谦卑处世是晚唐体诗人的人格姿态，以诗为生是晚唐体诗人的生活状态。第二章论述晚唐体的艺术渊源，认为以贾岛和姚合的创作为代表的晚唐体诗风是在一个充满“变态”的社会和文学环境中逐步成长起来的，就当时的大环境而言，影响晚唐体风气出现的因素固然很多，但对其审美趣味和创作习惯等根本性因素影响最为深刻的，主要来自三个方面：其一，回归六朝，其二是杜甫的影响，其三是孟郊和张籍的影响。第三章论述贾岛及其“晚唐体”，认为在所有的“晚唐体”诗人中，贾岛是最令人瞩目的。他的光彩首先自来于崇高的诗史地位，其次是复杂的生活经历。独特的生活经历和体验，造就了他独特的诗歌风格和成就，故贾岛诗歌中最为集中的，是那些描写或反映僧人、道士和隐者等被社会边缘化了的群体的生活情态的作品。“苦吟”为诗，以诗为生也是贾岛诗歌的重要内容。“苦吟”主要有两方面的内容：其一是指苦思作诗，以诗为命；其二是歌咏世俗生活的贫困和艰难。在贾岛诗中，无论反映的是哪一类人的生活，渲染的是哪一类环境，其风格和情调基本是一致的，即色调以青、白相对的冷色为主，感觉上以阴冷为主，视觉上以残缺、破败、荒野等不完整、缺乏生机和活力、行将衰亡的意象为主。描写景物细致逼真，往往于细小处见奇。情感以哀伤悲怨为主，诗境以静默为主，点化出一个枯寂幽静而又有点与世隔绝的世界。从诗体方面看，贾岛诗以五律成就最高。首先是五律数量最多，其次是贾岛的五律形成了自己特色，并在晚唐五代和两宋时期具有广泛而深远的影响。第四章讨论姚合及其“晚唐体”。姚合与贾岛同时，号“姚贾”，但二人在不同历史时期所受的重视程度并不相同。晚唐五代时期，贾岛更受人们推崇，而在两宋时代，除“九僧”外的“晚唐体”诗人以及南宋江湖诸子则偏重于继承姚合的诗风。姚合诗歌的题材和内容也与贾岛一样，较为简单狭窄，很少直接关注现实社会生活，绝大多数为不问世事的寄、怀、送、赠、哭、酬、别之类。内容多描写清静无为、消极避世的吏隐生活，最为突出的特点是慵懒和安闲。与贾岛一样，姚合也喜“苦吟”，但与贾岛形成鲜明对比的是，姚合苦吟作诗是为了消遣度日，调节心态，而不是求名求利。姚合也“吟苦”，他的很多篇幅用于描写和反映以他为代表的社会中下层民众的贫病苦愁等生活的艰难。姚合与僧侣、道士和隐士的交往也很频繁，但他此类作品的重点在于表达诗人宗教意识，和自己皈依佛教的愿望。与贾岛一样，姚合诗境多集中于主流社会之外的荒僻小县和深林山野，视野颇为狭小而局促，意象简单而多重复，但他更喜欢晴朗、温暖和明丽的天空，在季节和时间选择上更爱春花的明媚和亮丽。姚合的诗境则是五彩的，其中不乏红绿金玉之鲜亮明丽，联句中常以红绿、红白等冷暖相对，而非贾岛的青白相对。姚合偏长五律，在《全唐诗》所收的全部535首诗歌中，五律即有422首，占全部作品的79％，这个数字比贾岛的62％还要高。姚合诗歌形式拘谨，较少变化和创新，诗中多因循重复之处，显得较为呆板僵硬。第五章论述晚唐五代的晚唐体，认为晚唐体在晚唐五代的盛行，既是诗歌自身发展的客观规律，更与当时的社会背景息息相关。就诗歌自身发展情况而言，由于独特的魅力和创作成就，晚唐体创始人贾岛和姚合在中唐末期的诗坛已经具有相当的影响力，汇聚其门下的一批诗人成为当时诗坛的重要力量。就社会影响而言，晚唐体在晚唐五代的兴盛，又是无可奈何的必然选择，因为广大诗人群体的生存环境已经空前恶化。晚唐五代晚唐体创作继承了姚贾“晚唐体”创作的一些特色，其中最为典型的是重吟，即“以诗为生”，偏重于描写吟诗的情景、感受和生活背景，表现出写实的一面。与姚贾一样，他们的“吟”也首先是“苦吟”。其“苦”包括两层含义，一层是“吟苦”，主要是指其诗歌在内容上多诉说自身和亲友的不幸遭遇和穷愁抑郁。另一层含义是指创作态度的严肃认真，苦心孤诣和坚持不懈。在具体创作方法和艺术风格上，晚唐诗人总体上以效法姚贾为主，学习他们精雕细琢、撷取常人所不在意的纤小意象和微妙感觉入诗的风气。晚唐体在晚唐五代时期也出现了明显的变化，呈现较为鲜明的时代特色，主要表现在：创作主体的中心南移，重心进一步下移。在创作上效法姚贾的同时，也注意学习陶渊明、谢脁、谢灵运等著名的江南山水田园诗人。“吟苦”内容从姚贾时代侧重展示和调侃自我和亲友物质生活的穷困窘迫，转向较多地描写和记录羁旅行役的艰难与困苦，表现时代变迁留给个人生活的深刻烙印。语言上进一步走向平易简淡，趋向口语化和散文化。逐步形成宗姚与宗贾的两条路线。第六章讨论宋初晚唐体。首先展示了宋初晚唐体的文化视野，由于历史惯性，赵宋王朝建立之初，尽管政治和经济蓬勃繁荣，文学却同样在承绪着晚唐五代的风气和体式，宋初晚唐体就是在这样的背景下再次走上历史舞台。宋初晚唐体诗人成名原因主要有三：其一是自身道德操守和人格力量，其二是君主的推重，其三是诗歌自身的特色。根据不同的生活状态、艺术渊源和审美趣尚等，宋初晚唐体大致可分为三个群落：即以“九僧”为代表的僧侣群落，以林和靖为代表的隐逸群落，和以寇准为代表的官吏阶层，分别代表了宋初晚唐体的不同发展方向。宋初晚唐体的总体特征主要有二，其中最为典型的是“苦吟”，第二个明显的总体特征是作品内容基本不涉政事，唯取身边事、眼前景而“深刻思之”。第七章讨论晚唐体在宋代诗文革新后的余光。认为在诗文革新后的宋代诗坛，尽管以贾岛和姚合为主要尊奉对象的晚唐体已经很少被人们提及或仿效，但它所特有的一些创作方法和审美趣味却并未因此而完全销声匿迹，而是从三个方面影响着当时已经转换方向的诗坛，“苦吟”为诗的创作方法和炼字炼句的创作习惯依然为很多诗人所重视和采用，细密精工的景物描写和羁旅行役中的微妙感情在词体文学中大行其道，“苦吟”理论的进一步发展。第八章讨论“永嘉四灵”及其“晚唐体”，认为“永嘉四灵”是晚唐体发展史上第一个真正具有诗社性质，并且是以整个团体而非个体的成就和影响享誉诗坛的。最为重要的是，在讨论诗歌创作问题时，他们提出了很多值得重视的理论主张主要有“诗思出门多”、“秀句出寒饿”、“心夷语自秀”、“诗成唐体要人磨”、“君诗如贾岛”、“名与浪仙俱”等皆是非常重要的晚唐体诗歌理论。“永嘉四灵”复兴晚唐体的宏观社会背景是顺应了南宋诗坛亟欲变革的大趋势，同时亦为追求“名世”的小团体利益。南宋复兴晚唐体的先驱是杨万里而不是很多文献所谓的潘柽。杨万里救治江西弊病的药方就是晚唐诗，他首先肯定晚唐诗的创作成就，其次从理论上提高晚唐诗的历史地位。但杨万里学晚唐并非诸体皆学，而是有选择的，只是“想把空灵轻快的晚唐绝句作为医救填饱塞满的江西体的药”，因而，他所称道的“晚唐诸子”多为绝句创作成就相当突出的诸如李商隐、吴融、李咸用等诗人。“永嘉四灵”除了学习晚唐绝句之外，又从学习大历十才子入手，逐步向晚唐体创始人贾岛、姚合的创作之路靠近。大历诸子和姚贾之外，“四灵”也学习了其他中晚唐诗人的一些创作和表现手法。“四灵”诗歌在本质上是反江西的，故写景喜白描，语言清新简淡，通俗易懂，力求“捐书以为诗”。余论主要就“四灵”之后的晚唐体发展状况进行了简要分析，认为江湖诗人学习晚唐体的情况非常复杂，虽然也吸取了晚唐体诗歌的某些特色和技巧，但整体而言，无论是创作主体还是诗歌的表现形式和内容，都越来越脱离了晚唐体的正常轨道，而更加向江西诗派靠拢。更多还原

【Abstract】 The dissertation on Late-tang Style Poetry in the Tang and Song Dynasties, Consists of three parts of introduction,text and postscript.The introduction consists of six sections. In the first section,the historic status and research value of Late-tang Style Poetry are analysed and studied,concluding that Late-tang Style Poetry is one of the poetry genres which are of great influence in the literary history. The duration and bulkiness of its composition group are unprecedented,and have far-reaching influence on the production and criticism of classical Chinese poetry.In the second section,research status quo at home and abroad is summarized,concluding that although many concerned researches on some individuanl writers and literary phenomena have been done,a systemic comprehensive research is still seldom seen,which shows that the academia has not paid much attention to this style.The third section deals with timing of the poetry in the Tang Dynasty, concluding that researchers in the Song Dynasty tended to study poetry in the Tang Dynasty via three stages ,that is ,the High-Tang,Mid- Tang and Late- Tang,but the meaning of Mid- Tang and Late- Tang is not the same as that of the aftertime, Mid- Tang usually referred to the period after Dali and Zhenyuan, while the period after Yuanhe was usually known as Late- Tang. Based on that,Jia-Dao,Yao-He and some other poets of the similar kind were looked upon as poets of Late- Tang,naturally,their poems came to Late-tang Style Poems.The fourth section studies evolution of the meaning of Late-tang Style,concluding that the term Late-tang Style came to shape gradually with appearance of Late-tang of Three-Tang theory in the Song Dynasty. The specific meaning of the term varied at different time,for example, Yan-Yu specially referred to a unique style only in the Tang Dynasty,while Yu-Wenbao thought it was a special poetry style popular in the the Southern Song Dynasty ,in the end ,Fang-Hui summarized the meaning of the Song Dynasty poetry,making people have similar viewpoint of Late-tang Style.The fifth section differentiates and analyses the often-used term such as Tang Poetry,Poets in the the Tang Dynasty,Tang Style and Late-tang Poetry,and the sixth section introduces the main research methods used in the dissertation.The text consists of eight chapters. Chapter 1 discusses main characteristics of the Late-tang Style,concluding that searching images and picking up lines were their main composition methods,clear case was their aesthetical pursuit ,living humbly was their personality pose,and living poem-orientedly was their living state.Chapter 2 discusses art sources of Late-tang Style,concluding that the Late-tang Style poetry represented by Jia Dao and Yao He gradually grew up in a increasingly changing social and literary circumstances,in which many factors affecting turning up of the fashion of Late-tang Style ,but the most profound factor affecting their aesthetical flavor and writing habits came from three aspects,that is ,going back to the style of the Period of the Six Dynasties, the influences from Du Fu, Meng Jiao and Zheng Ji.Chapter 3 discusses Jiao Dao and his Late-tang Style Poetry,concluding that of all the Late-tang Style Poets, Jia Dao was the most famous,and his fame and glory came firstly from the noble status in the histry of poetry,secondly from his complex life experiences ,thus leading to his unique style and achievements of his poems. which concentrated to depict or recording kinds of living states of monks ,Taoists and hermits. Hard-chanting and poem-writing orientation was also the important content of Jian Dao’s . Jia’s Hard-chanting had two kinds of meanings ,one was Hard-chanting and poem-writing orientation,the other was depiction of hardship and difficulties in social life. In Jia’s poems .whatever life he reflected, whatever scene he depicted ,he inclined to use white and black color, cold sensitation,dilapidated ,wild or dying images,which made up a unique world in his poems. Jia was good at five-word lines ,with the largest quantity and striking characteristics in all his poems.Chapter 4 discusses Yao He and his Late-tang Style Poems, concluding that living in the same era, Yao He and Ja Dao was called Yao & Ja,but they were valued differently at different time,in details ,in the period of Late-tang and Five Regime, Ja Dao was more respected ,while during the Northern and Southern Song Dynasties,all the Late-tang Style poets exept Nine Monks tended to study Yao He’s style. The theme and content of Yao He’s poems were similar to those of Ja Dao’s ,that is ,narrow and simple , most were about association activities among friends,and seldom concerned about the real social life, just of that of Jia Dao, most of that depicted the tranquil inactive hermit life characterized by kinds of laziness and leisure. Just as Jia Dao ,Yao He also liked hard-chanting, but striking contract to Jia Dao, Yao’s purpose of hard-chanting was to kill time,not to hunt for fame or physical benefit. Yao He also chant of hardlife of lower class masses represented by himself. many of his lines were also about monks ,Taoists and hermits,but the purpose of these kind of poems was to express his religion awareness,and the strong desire to become a monk. Just like Jia Dao, Yao He also liked to depict the scenery of remote and desolate wild forest and hills in some small counties,but he liked sunny and warm sky,as well as nice spring flowers,so his poems were colorful,with kinds of color in his lines, contrary to that of Jia Dao. Yao He was good at five-word lines, of all his 535 poems ,422 was this kind,much more high than Jia Dao’s,but his poems were more stiff,lacking of changes.Chapter 5 discusses Late-tang Style poety in the period of Late-tang and Five Regime, concluding that the popularity of Late-tang Style in this period resulted from not only the objective law of poetry itself,but also from the social background then. As for the development of the poetry itself,because of the unique charm and compisotion achievements, the founders of Late-tang Style Jia Dao and Yao He powerfully influenced the fields of poetry at the end of Mid-tang ,and mant poets followed them were the important forces at that time. As for the effects from the society,the flourishment of Late-tang Style poety was the necessary choice, because the living surroundings of the great poet group had been deteriorated.Late-tang Style poetry in the period of Late-tang and Five Regime inherited some characteristics of Jia Dao and Yao He’s ,the most representative was chanting-orientation,that is the poets of that kind lived by poem-writing,and inclined to describe the scenes,feelings and living background of their poem- writing. Just as Jia Dao and Yao He ,the Late-tang Style poets also hardchanted,the hardship of their chanting had two kind of meanings ,one was to chant hardship and unhappiness of their relative ,families,and themselves. the other was referred to their poems hard .carefully and solemnly. Meanwhile ,they imitated some other techniques and skills of Jia Dao and Yao He’s.There had also been obvious changes in Late-tang Style poety in the period of Late-tang and Five Regime,showing striking characteristics of the time,that is,the centre of poets moved gradually to the southland in addition to the imitation of Jia Dao and Yao He, Tao Yuan-ming,Xie Tiao ,Xie Ling-yun and some other poets were also studied,and the content of chanting hardship gradually turned from showing poverty and hardship of their relatives and friends to depicting and recording difficulties and hardship during their trips,and language of poems came to become more and more plain, simple ,and oral,gradually come to shape to two routes of study Jia Dao and Yao He .Chapter 6 discusses Late-tang Style Poetry in the Early-song Dynasty,first showed the cultural backgroud of Late-tang Style Poetry in the Early-song Dynasty,then discusses three reasons resulting to the great fame that Late-tang Style Poets earned,that is,the moral chastity and personality power of themselves,the respect and value from the emperor, and the characteristis of thepoem style itself. Based on different living states,art sources and aesthetical flavor, Late-tang Style Poets in the Early-song Dynasty could be grouped into three types:monks group represented by Nine Monks,hermit group represented by Lin Bu,and official group represented by Kou Zhun,which representing three development directions in the Early-song Dynasty.There were two Characteristics in Late-tang Style Poetry of the Early-song Dynasty, the first was typical hard-chanting,other was that the contents basically did not involve political affairs,only chanting the secenes and affairs on their side.Chapter 7 discusses Late-tang Style Poetry developed after the movement of literary reform , concluding that although after the movement , Late-tang Style Poetry were talked about or even imitated,some unique methods and aesthetical flavor did not disappeared utterly,moreover,they influenced the fields of poems on three aspects,that is,hard-chanting,scenery-depiction,and further evolution of hard-chanting theory.Chapter 6 discusses Yong-jia Si-ling and their Late-tang Style Poetry, concluding that in the development history of Late-tang Style Poetry Yong-jia Si-ling was the first that had the nature of poem society,and earned their fame via achievements and influence of the whole group instead of individuality. The most important is that while discussing poem composition,they raised some valuable theories such as: Shisi chumen duo(诗思出门多), Xiuju chu han e(秀句出寒饿), Xinyi yu zixiu(心夷语自秀), Junshi ru Jia Dao(君诗如贾岛), Ming yu langxian ju(句与浪仙俱), and so on, which were all the important poem theory of Late-tang Style Poetry.The macro social background of Yong-jia Si-ling’s revival to Late-tang Style Poetry was to keep up with the decisive trend that the fields of poetry was anxious to reform,but they also had the purpose of pursuit to earn big fame for their group.The forerunner in the Southern Song Dynasty to revive Late-tang Style Poetry was Yang Wan-li, whose prescription to cure illness of Jiangxi School,first praising composition achievements of poems in the Late-tang ,then theorrtically raising the historic status of poems in the Late-tang,but he did not learn all case in the Late-tang, what he praised and learned was those who were good at Jueju such as Li Shang-yin, Wu Rong and some others. In addition to learn Jueju in the Late-tang, Yong-jia Si-ling also learned Dali shi caizi(大历十才子), Jia Dao and Yao He and some other poets in the Late-tang.Postscript briefly analyzes the development state of Late-tang Style Poetry after Yong-jia Si-ling, concluding that the state of Jianghu Poets’s learning of Late-tang Style Poetry was very complicated,although absorbed some characteristics and techeniques ,the content and expressing forms and some other factors wound their way from Late-tang Style Poetry far away.更多还原