頁籤選單縮合
題名 | 國體、文體與抒情--從詩史到神韻=State System, Literary Genre, and Lyricism--From "Shi-Shi" to "Shen-Yun" |
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作者 | 曾守仁; Tseng, Shou-jen; |
期刊 | 東華漢學 |
出版日期 | 20150600 |
卷期 | 21 2015.06[民104.06] |
頁次 | 頁31-99 |
分類號 | 821.27 |
語文 | chi |
關鍵詞 | 詩史; 神韻; 抒情傳統; Shi Shi; Shen Yun; Chinese lyrical tradition; |
中文摘要 | 本文重新討論神韻旨趣,並藉以再論當代中國抒情傳統的理論建構。首先回到神韻之前─明清之際的世變來加以觀察,如果說詩史的「詩備史義」與明清易代產生緊密的對應聯繫,那麼於之後步入康熙時主盟詩壇的王士禛,其所倡舉的神韻詩體又對應了何種的現實?本文指出神韻其實暗含作為對過去(詩史)的應答,以及對當世新文學的風氣引領,顯現為一種對現實的解決方案。再者,續指明從詩史到神韻的變動,體現出何種的意趣,究明神韻內蘊的意識形態為何?事實上神韻論之惝恍迷離、不著一字,幾近於純詩,但那既是清靈遠澹的意趣,也是居身處世之法,更是一種對遺民現實的閃避─凸顯了其中的審美意識形態。《談藝錄》中錢鍾書先生引鄭朝宗言:「漁洋提倡神韻,未可厚非。神韻乃詩中最高境界。」並表深予同意。柯慶明先生則以:「帶給我們的正是完全的美感觀照的無窮喜悅」,指稱神韻詩作的特質。另可注意的是,位於明清之際的王夫之,他的詩論從「詩以道情,道性之情」─這個由情到言的歷程,乃是經歷了一種對情的提煉與純化,最後則出之以溫柔敦厚的君子辭,同樣顯現出類神韻的特色。神韻雖有兩種「同面異構」的型態,但一者是躲離現實、一者為提煉現實─如此這被譽為中國詩歌最高境界的神韻詩,前者隱含著對現實的妥協,後者則不妨為另一種的詩史。「詩史」雖是不純粹的詩體,卻直面現實苦難,隱然有以光明對抗黑暗的意味,因為詩歌總在那亂離憂患之中才能體現詩人性情之高尚精微─之於杜甫與陳世驤皆然,而中國抒情傳統的精粹亦不妨在此。 |
英文摘要 | Beginning with the observations from before the age of "Shen Yun," this paper intends to reinterpret the definition of "Shen Yun" style, whereby re-explore the contemporary Chinese lyrical tradition. If "Shi Shi" means "poetry as records of history" inseparably corresponds with the transition of Ming to Qing dynasty, then what kind of reality does the "Shen yun" style, which was proposed by Wang Shi Zhen-the leading figure of poetry scene under the reign, correspond to? This paper aims to propose that "Shen Yun" implied responses and answers to the history and poetry, and led the trend and fashion of its contemporary literary scene. It was a solution to reality and life. Moreover, this paper would make manifest what kind of ideology and interest does the shift from "Shi Shi" to "Shen Yun" represent and what is the innate ideology status of "Shen Yun." In fact, the ethereal and the charmingly resonance discourse of "Shen Yun" is almost identical to that of "pure poetry." It is not only a sense of aesthetic ideological interest, but also a way to deal and survive in life and in the officialdom as well as a retreat from the reality and life-it emphasizes the ideology of the aesthetics within. Qian Zhong Shu quotes Zheng Chao Zong in his Tan Yi Lu and asserts that "Shen Yun is the highest state of poetry." Ke Qing Ming, when indicating the characteristic of Shen Yun poetry, asserts that "it brings us the sheer endless joy of the aestheticism." Moreover, after certain refinement and purification of his poetry discourse, Wang Fu Zhi, who is active during the transition of Ming dynasty to Qing, also reveals a "Shen-Yun-like" quality in his language style featuring qualities of being gentle. Though Shen Yun features a mode of "hetero structures over the same phase," nevertheless one escapes the reality and the other (aesthetically) refines it. Winning the fame as the greatest state of poetry, Shen Yun poetry actually connotes a compromise with the reality. Though Shi Shi is an impure poetry genre, it directly confronts the reality on a greater level and challenges the dark side with its light force. Since lyrics and poetry never fail to reify the nobility and keenness of the poets in the turbulence of time-as seen in Du Fu and Chen Shi Xiang-surely the essences of the Chinese lyrical tradition is presented within. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。