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題 名 | 陶謝並稱對其文學範型流變的影響--兼論陶謝「田園」、「山水」詩類空間書寫的區別=The Effect of Tao-Xie Juxtaposed Comparison on the Later Literary Model and the Writing Differences between “Farm poetry” and “Landscape poetry” of Tao Yuen-ming and Xie Ling-yun |
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作 者 | 王文進; | 書刊名 | 東華人文學報 |
卷 期 | 9 民95.07 |
頁 次 | 頁69-109 |
分類號 | 831.3 |
關鍵詞 | 陶淵明; 謝靈運; 陶謝並稱; 山水詩; 田園詩; Tao Yuen-ming; Xie Ling-yun; Tao-Xie juxtaposed comparison; Landscape poetry; Farm poetry; |
語 文 | 中文(Chinese) |
中文摘要 | 中國文學史上向有一種以詩人對舉相稱的傳統。如陶謝、李杜、韓柳、元白、蘇黃、蘇辛等。但是在這些對舉的作家中以陶謝對舉的議題最為錯綜複雜。陶謝對舉出現之前,原為顏謝並稱,而後又有二謝、鮑謝穿插其間;表面上看來,陶謝對舉似乎一直以謝靈運為重要的隱性主軸,但實際上,謝靈運一旦和陶淵明對舉之後,卻處處成為陶淵明巨燭映襯下的背景人物。首先是在慧遠蓮社故事系統中,成為「心亂」的負面教材;其次在中國仕隱傳統中,謝靈運一旦和陶淵明並列,又成為仕隱出處失節的瑕疵者;即使在文學形象的對比中,謝靈運也成為雕琢繁蕪的集大成者。 當然,陶謝並稱對於謝靈運形象的影響也並不完全是負面的。最明顯的是在並稱的對照中,陶淵明一旦被聚焦於田園詩的光譜中,謝靈運則微妙地被推舉成山水詩的代表,終而發展成中國文學中田園與山水的兩大詩類。本文意在詳述其發展的過程,並探究個中原具的質素。 |
英文摘要 | There has long been a tradition of putting different poets into the same category and doing juxtaposed comparison, for instance, Tao-Xie, Lee-Tu, Hen-Liu, Yuen-Bi, Su-Hung and Su-Xing, etc. Among all these writings, the issue of Tao-Xie Juxtaposition is the most complex one. Before Tao-Xie, there were Yien-Xie, later on the Two Xies, and Bow-Xie appeared somewhere in between. It seems that in the Tao-Xie juxtaposition, Xie Ling-yun shall be the primary key; but in fact, once Xie Ling-yun was put on a par with Toa Yuen-ming, he became a sentimental figure compared to Toa Yuen-ming. First, in the series of Hui-yuan Buddhism story system, he was the negative material of “heart chaos.” Afterwards when it came to the Chinese tradition of “to be a official or not,” putting Xie Ling-yun on a par with Toa Yuen-ming made Xie a person with the flaw who forfeited his integrity on such a matter. Even on the issue of literary achievement, Xie Ling-yun was the representative figure of complicating the flowery words. Surely the effects on the image of Xie Ling-yun from Tao-Xie juxtaposed comparison are not all negative. It is obviously seen in the popular contrast of Xie Ling-yun as the symbol of “Landscape poetry”while Tao Yuen-ming the focus of the “Farm poetry.” These phenomena finally developed into the two main categories of Chinese Literature—“Farm poetry” and “Landscape poetry.” This article is to explore the origin and to describe the process of such a development. |
本系統中英文摘要資訊取自各篇刊載內容。