頁籤選單縮合
題名 | 從「會通化成」論宋詩之新變與價值=A Discussion of Innovation, Originality and Values in Sung Poetry from the Perspective of Hui T'ung Hua Ch'eng |
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作者 | 張高評; | 書刊名 | 漢學研究 |
卷期 | 16:1=31 1998.06[民87.06] |
頁次 | 頁235-265 |
分類號 | 821.75 |
關鍵詞 | 宋詩; 會通化成; 理一分殊; 兩一; Sung poetry; Hui t'ung hua ch'eng assimilation and transformation; Li-i fen-shu common reason for different elements; Liang-i duality and oneness; |
語文 | 中文(Chinese) |
中文摘要 | 宋型文化,以會通化成為核心。由此而消納傳統,開拓特色。投射於詩歌.則促 成其新變唐詩、代雄唐詩,蔚為宋調之新典範,可與唐音分庭抗禮。考宋詩所以新變代雄之 故,就文學的本體論或形上思維來說,大抵有三大端:一、發皇傳統文化之基因,如光大先 秦以來系統思維之「和」:二、體現宋型文化之意識,如司馬光提出之兼容、秦觀強調之化 成、鄭樵注重之會通;三、反映當代哲學之思潮,如張載褐櫫之兩一、王安石朱熹等申說之 化變、程頤朱熹等發明之理一分殊;以上三大端相激相盪、交融整合,遂孕育建構出宋代詩 學之本色:推陳出新、不經人道、別裁創獲,自成一家;於是跟唐型文化育成的唐詩風格分 道揚鑣,從此平分詩國之秋色。因此。根據「詩文代變,文體屢遷」的原則,衡以文學語言 、詩歌語言、變異學說、典範理論、陌生化理論的標準,評價唐詩宋詩,筆者堅信:「當以 新變自得為準據,不當以異同源流定優劣。」自宋代蘇軾、黃庭堅、范溫、陳善、劉辰翁; 道明代方孝孺、楊慎、許學夷、袁宏道、袁中道;下逮清朝葉燮、徐乾學、吳之帆、袁枚、 方東樹;乃至近代當代學人朱東潤、錢仲聯、錢鍾書、程千帆、吳小如諸說;要皆以「新變 自得」肯定宋詩之價值。此自宋人以及明、清、近代諸家之詩話、筆記、文集、題跋所徵信, 可以知其大凡。 |
英文摘要 | At the very core of Sung culture lay hui t'ung hua ch'eng(會通化成), the ability to absorb traditions of the preceding T'ang dynasty, and transform them into something new through assimilation and expansion. This practice resulted in numerous innovations which did not destroy the old, but rather transformed it into something new of equal values. This was the case with Sung poetry--having absorbed the traditions of T'ang poetry, Sung poetry retained the flavor of those traditions while be coming a new paradigm in poetry that was equal to the old in its originality. This paper will examine how Sung poetry was able to attain such a remarkable level of innovation and form a new school through the interaction of the following three factors: (1) The Sung culture's proclivity for absorbing and transforming aspects of traditional culture, such as the pre-Chin philosophical concept of ho (和, harmony); (2) The drive of Sung people to express their cultural conscientiousness, as exemplified by Szu-ma Kuang's Chien-jung (兼容, incorporating elements of diverse nature), Chin Kuan's Hua-ch'eng (化成, comprehensive epitomization) and Cheng Ch'iao's Hui-t'ung (會通, armonious association). (3) The manner in which Sung poetry reflects philosophical thinking in Sung society, exemplified by Chang Tsai's Liang-i(兩一, duality and oneness), Wang An-shih and Chu Hsi's Hua-pien (化變, transformation and change), and Chu Hsi and Ch'eng I's Li-i fen-shu (理一分殊, common reason for different elements). The interaction among these three factors gave birth to a new school of poetry. The emergence of this new school is identified through stylistic changes over time in the following areas: (1) literary language, (2) poetic language, (3) variation, (4) paradigms, (5) novelization. It is the author's firm belief that we should use innovation, rather than adherence to tradition, as the standard in criticism of T'ang and Sung poetry. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。