赵孟頫与元代中期诗坛

【作者】 刘竞飞；

【导师】 陈广宏；

【作者基本信息】 复旦大学 ， 中国古代文学， 2010， 博士

【摘要】 赵孟頫在元代诗坛上是个极具代表性的人物,在一般的文学史表述中,皆以其为元代南北诗风融合和转变的推动者,是元代南方诗人步入北方诗坛的前驱,是元诗四大家的先导。本文认为,这种评价不可谓不高,也不可谓不正确,但却远未达到全面。赵孟頫诗歌的特质性主要是通过全部创作的整体表现出来的,而所谓的整体,乃是一个高处与疵处互见的综合。赵孟頫的诗歌不像李白、杜甫等人的诗作那样,有着包罗万象题材的以及众多超人意表的想象,他的诗歌在整体上呈现出一种高度的单纯性和共质性。除去部分不得不按规定的套路和写法创作的诗,赵孟頫的诗大多数都是以写个人的情感为主,个人情感不仅成为赵孟頫诗歌写作的初动力,而且在某些酬赠类的诗中,它甚至蜕变成为一种交游的中介,上升为一种普遍的价值。赵孟頫写情,保持了一种高度的写意性,种种因具体的事件引发的具体情感在被进行了抽象之后,被赋予了一种带有高度同一性的形式。将个人具体而自我的情感融入到一种带有抽象性的表达形式当中,这在宋元交替之际的南方诗坛中是一种普遍的创作手法,像张炎等人所追求的清空骚雅,其实都是在用一种貌似高雅和普遍的文学形式来掩盖自己在真实生活中的挫败与创伤,和某些诗人不同的是,赵孟頫将这种创作方法一直保持到了生命的最后。以这种对于具体情感的抽象为基础,赵孟頫的诗、词、曲在整体上显现出一种超出于一般的异质同构性。在赵孟頫的诗、词、曲作中,不仅表达的情感十分相似,而且意象设立与词语的安置也十分类似。将诗、词、曲全部用来抒发个人情感,这意味着赵孟頫已经极大地改变了旧的儒家抒情传统,而这对于自宋代以来盛行的以诗行议论、以诗讲理亦是一种极大的反拨。赵孟頫的很多诗(包括词曲),不避字句的重复,不避用典和设象的浅近,这意味着他是把诗当作比较纯粹的抒情工具来看待的。不讲载道、不讲美刺,在中国诗歌史上这不是首创,但这种对于传统诗学观念的疏离以及对于某些文体规范的蔑视在整个中国文学由中世走向近世的大背景下却生出一种不同于以往的意义。我们看到,在近世文学将诗体解放、诗歌私人化、主情化的这个方向上,这位昔日的皇孙,反而走在了时代的前列。为了深入挖掘赵孟頫诗歌在诗歌史上的这种特殊意义,本文在按照传统的形式研究方法对赵孟頫一生诗歌创作进行研究的同时,又设置了一条“抒情传统”的辅线。这条辅线的进展主要是依靠“主体性潜替”这个概念来推进的,这样做的目的,不仅是为传统的文学形式史研究提供补充,同时也是为分析元代那些表面上看起来和前代没有什么两样的诗歌提供依据。本文对于元代诗坛人物的取舍,皆以“能和赵孟頫形成相互说明和对照”为依据,除去不得不谈到的人物,如王恽、虞集、杨载等人,本文在写作过程中努力回避了对那些已经在学界中获得广泛研究的人物进行讨论,而以对文学史中通常被忽略的人物和细节进行深入挖掘为主。挖掘的结果包括：通过将吴澄和赵孟頫进行对比,本文勾勒出了赵孟頫学术思想的大概渊源和基本风貌,并通过对二人的文学作品进行分析,对元代南人知识分子的基本心态和命运进行了追溯性的描述；通过对具有广泛代表性的月泉吟社和文学史上一直被忽略的“吴兴八俊”文人团体进行考察,对何为当时东南诗坛的主体性诗风进行了界定；通过对《咏逸民》和《和姚子敬秋怀五首》等诗歌的比较和分析,揭示了在特殊的历史条件下,一种公共价值何以能够成为私人情感的表达,并在此过程中初步揭示了“主体性潜替”何以能够在不知不觉中改变诗歌的内涵；通过将赵孟頫的诗歌和北方名家的诗歌进行对比并对他们之间的交游进行考察,发现赵孟頫并不像有的研究者所认为的那样,是一个南来的“孤独者”,而南北诗风之间的差异也并不像某些文学史记述者们所描述的那样大,在诗歌写作的基础层面,南北诗歌还是比较相似的,而在基本的诗学理念上,南北双方其实同出于宋人；通过将后起的馆阁诗人袁桷的诗歌和赵孟頫的诗歌进行对比,本文确定了元代新馆阁诗的知识化倾向,而知识化本是宋诗中的一个因素；通过将杨载的诗学主张和创作与赵孟頫进行对比,本文挖掘出元人的宗唐其实乃是循着宋人的诗学理路,因此说元诗“宗唐反宋”是并不完全准确的；通过将虞集的诗学主张和创作与赵孟頫进行对比,本文确定了新一代馆阁诗的基本特征；通过对延祜以前元代诗风流变的分析,本文认为所谓的“南北诗风融合”,其实是以北方诗人的自然凋谢和南方诗人的渐次兴起为背景的,这基本上是一个南方诗风逐渐取代了北方风格的过程,在这个过程中,最有力的推动者乃是时间而非是某个专意扭转诗风的伟大人物；通过对于元代诗歌史书写过程的分析,本文发现,所谓的“宗唐”的线索,其实在元朝当代的文学史叙述中即已中断,而对于宗唐线索的重拾则发生在明代,晚宋之诗多学晚唐,元人宗唐却不甚分初盛中晚,因此元人的所谓“宗唐反宋”在逻辑上即是不彻底的,故明七子的高举盛唐,抨击晚唐,虽然在形式上是偏激的,但在逻辑上却是必须的一环。赵孟頫的一生,贯穿了元诗由晚宋走向盛元的过程,而其交游的范围,又贯穿了平民、官曹府吏以及馆阁名公等几个阶层,因此对他的人生经历以及心态进行考察对于认识元代诗风的宏观发展和流变来说有着重要意义。而与此同时,赵孟頫的个人情感与诗歌创作在元代诗坛中又极具特殊性,乃是元代诗人中的“这一个”,在大的诗风流变的背景下挖掘出赵孟頫人生及创作的特殊性,这将成为本文的另一种意义。更多还原

【Abstract】 Zhao Mengfu(赵孟頫)is a very special person in the poetic circles of Yuan Dynasty. This specialty comes not only from his special royal status and quite legendary life experiences, but from his literary creation in a more important sense. In the general expressions of literary history, Zhao Mengfu is mainly described as an integration and transformation promoter of Northern and Southern Poetry styles of Yuan Dynasty, a precursor who blends the southern style into the Northern poetic circles and one of the Four Leading Poets of Yuan Dynasty, this paper believes that this evaluation is not undervalued nor incorrect, but is far from comprehensive.The special qualities of his poetry are reflected primarily through the wholeness of all his creation and the wholeness mentioned here is a comprehensive cross-reference of the excellence and defect. Unlike Li Bai(李白)and Du Fu(杜甫),whose poems cover all themes and contain many extraordinary images, Zhao Mengfu’s poetry as a whole manifests highly simplicity and common property. Apart from some poems which are composed according to the prescriptive writing routine, the majority of Zhao Mengfu’s poems are about personal feelings, which become a major impetus to his poetry writing and, in some presenting poems, even evolve into a kind of intermediary intercourse, coming to gain a general value.Zhao Mengfu’s poems about personal feelings maintain a high degree of impressionistic manner. When specific emotions triggered by specific events are abstracted, they are given a high degree of identity in terms of the form.In the southern poetic circles, integrating specific and personal emotions into a kind of abstracted forms of expression is a widespread approach to poetry creation in turning point of the Song Dynasty and Yuan Dynasty. Unlike Zhang Yan and other poets who pursue purity, freshness, coquette and elegance and who are in fact using a seemingly elegant and popular form of literature to cover up their defeat and trauma in real life, Zhao Mengfu maintains this creative approach to the end of his life.On the basis of the abstraction of personal feelings, Zhao Mengfu’s poems, Lyrics(词)and Melodies(曲),as a whole, manifest a kind of unusual heterogeneous homogeny. In his poems, Lyric and Melody, he expresses quite similar emotions, and the setting of images and the arrangement of words are also very similar. Devoting poetry, Lyric and Melody to expressing personal feelings signifies that Zhao Mengfu has greatly changed the old Confucian tradition of feeling expression, which is a strong refutation to the arguing and reasoning via poems which has been prevalent since the Song Dynasty. Many of Zhao Mengfu’s poems(including Lyrics and Melodies) do not avoid repeting words or using the simple meaning of literary quotations and images, which indicates that he treats poetry as merely a tool to express feelings. Not emphasizing moral instruction or expostulation is initiative in the history of Chinese poetry. However, this alienation from the traditional poetry concepts and the contempt for some of the prescriptive style routine possess a meaning different from the past under the background that Chinese literature are approaching the modern times. We witness that the former prince walks ahead of his time in the aspect of liberating poetry style, personalizing and emotionalizing poems, which characterize modern literature.In order to dig out the special significance of Zhao Mengfu’s poems in the history of poetry, this paper offers a lyric clue, while furthering research on all poems through his life following the traditional form research method.The advancing of the clue mainly relies on the concept of "The latent evolvement causing by subject"(主体性潜替),and the goal is not only to provide supplement for the traditional study on the history of literary form, but also provide basis for the analysis of those poetry of the Yuan Dynasty which seem to have no difference from the poetry of previous dynasties.When deciding on the choice of poets of Yuan Dynasty, this paper follows the following principle-choosing those who can form a mutual clarification and cross-reference with Zhao Mengfu.Apart from those who have to be mentioned, such as Wang Yun, Yu Ji, Yang Zai, etc.,this paper makes great efforts to avoid those who have gained extensive research and discussion in the academic field and focuses on studying the often ignored figures in the history of literature.Research results include:by comparing Zhao mengfu with Wu Cheng(吴澄),this article outlines the rough origin and general character of Zhao Mengfu’s academic ideas and gives a retrospective description of the basic mentality and the fate of the southern intellectuals of Yuan Dynasty; By investigating the highly representative Yue Quan Poets(月泉吟社)and the Wu Xing Ba Jun(吴兴八俊)which are long-ignored in literary history, the paper defines the main poetry style of the south-east poetic circles; By comparing and analyzing poems like "A tribute to the hermits"(《咏逸民》)and "The responsory to Yao zijing’s five poems of autumn"(《和姚子敬秋怀五首》),the paper reveals that how common values can become an expression of personal feelings under special historical conditions, and how, in the process, "The latent evolvement causing by subject" can unknowingly change the connotation of poetry in this process; By comparing Zhao Mengfu’s poems with those of the well-known northern poets and investigating the intercommunication between them,it is found out that Zhao Mengfu is not, as some researchers see it, a "loner" from the south and the differences between the Southern and the Northern poetry are not as huge as some literary history describes.In terms of poetry writing, Northern and Southern poems are quite similar and concerning basic poetic concept, both the Northern and the Southern poetry originate from Song people; By comparing Zhao Mengfu’s poems with those of Yuan Jue(袁桷),who comes later, this paper identifies the intellectualization inclination of new royal poems in Yuan Dynasty, and intellectualization is a factor in the poetry of Song Dynasty; By comparing Yang Zai’s(杨载)poetic ideas and creation with Zhao Mengfu’s, this paper finds that "The poets in Yuan taking Tang as their model", in fact, follows the poetic concept of Song Dynasty, therefore, it is inaccurate to say that the poets of Yuan took Tang as their model and they struggled against Song; By comparing Yu Ji’s(虞集)poetic ideas and creation with Zhao Mengfu’s, this paper identifies the basic characteristics of the new royal poems; By analyzing the change of Yuan’s poetic style before the Yan-You times(延祐),the paper claims that the so-called "North-South integration of poetry" takes place, in fact, against the background of natural withering of northern poets and the gradual rise of southern poets, which is basically a process of southern poetry style gradually replacing the Northern style. During this process, the most powerful promoter is time and not a certain great figure who intends to reverse the poetry style; By analyzing the writing process of Yuan’s poetry history, the present paper finds that the so-called "to learn Tang"(宗唐)clue, in fact, breaks off in Yuan’s literature history and the regain of it happens in the Ming Dynasty. Many poems of Late Song imitate Late Tang, but how to learn Tang not classified in the Yuan Danasty, usually, the Yuan’s poets did not hold their ground on the separation of the early, the flourishing, the middle and the late periods.As a result, Yuan’s so-called "to learn Tang and against Song" in logic is incomplete, so Seven Poets in the Ming Dynasty(明七子)holding up Flourishing Tang and denouncing Late Tang is necessary in logic, though radical in form.Zhao Mengfu lived through the Late Song to the Flourishing Yuan and he intercommunicated with several classes, including the civilian,the officials and the royal scholars, and therefore research on his life experiences and mentality is of great significance for us to understand of the macro development and change of Yuan’s poetry. At the same time, Zhao Mengfu’s personal feelings and poetry writing are very special in the poetic circles of Yuan Dynasty, so digging out the specialty of his creation and life in context of poetry style changing will be another significance of this paper.更多还原