人文中國學報 Pub Date : 2020-01-01 DOI: 10.24112/sinohumanitas.292029

琛章

{"title":"機鋒與神理：王夫之《遣興詩》及其詩學意義初探","authors":"琛章","doi":"10.24112/sinohumanitas.292029","DOIUrl":"https://doi.org/10.24112/sinohumanitas.292029","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000《讀甘蔗生遣興詩次韻而和之》七十六首是王夫之四十四歲隱居衡陽時，偶然讀到友人金堡舊年之《遣興詩》次韻而作。其後又有《廣遣興》詩五十八首。兩組詩最明顯的寫作特色在於幾乎句句用事，涵蓋了經史諸子和道家丹術、通俗文學等各個領域，而用事手法又極拗峭，其用意頗不易曉。其中尤爲突出的是大量的禪語和禪典的運用，是爲他生平詩作用禪最爲密集者。因此兩組詩初看之下，似乎顛覆了王夫之一貫堅持的詩以道情、情景交融之核心主張。但如果仔細尋繹其中用事和構象的邏輯規律，便會發現這套規律其實是船山詩學主要的創作觀念———例如“以神理相取”、“取勢”、“蟬聯暗換”等等———在實踐中的運作。更重要的是，這兩組詩在詩學創作方面有明顯的自我指涉和內省意義，與王夫之的詩選評論也存在著確切的關聯。因此，對於全面瞭解船山詩學體系，特別是其理論和實踐之間的關係，“遣興詩”和“廣遣興”是至關重要的環節。本文將以探討船山詩學的理論和實踐之間的關聯爲目標，取《讀甘蔗生遣興詩次韻而和之》爲“遣興詩”與“廣遣興詩”的代表作，作深入解讀，重點關注統一其命意和寫法層面的邏輯規律。然後，與船山詩學創作觀念相印證，作爲他日全面深入考察之基礎。 \u0000The rich extensive scholarship produced over the last few decades on Wang Fuzhi’s poetic theory has neglected to take into account an essential component-his own poetry. In a set of seventy-six poems titled “Letting out What Stirred Me” and a further fifty-eight titled “Letting out What Stirred Me-Broadened,” written in the years 1662-1663 in Hengyang, Wang Fuzhi asks the questions of life and death in a sweeping representation of the patterns that underlie the changing universe. The two sets of poems are the first culmination of Wang’s thoughts and practice in poetry before the age of fifty, containing many self-reflective lines about the role of the poet and the use of language in poetry. The process that he identifies at the start as the “work of Creation” shares the same mechanism as the process by which the poet weaves his web of images. The world thus created is a visionary one in which changes in human life, history, and culture are reorganized through concrete images from the natural world, cognized through the poet’s senses in the time and space of specific poems. The poems are also a remarkable play of words that pushes the limits of polysemy and poetic grammar. Through an analysis of the first set of “Letting out What Stirred Me” poems, I demonstrate that on the one hand, Wang’s early poetry affirms the core ideas in outlined in his later theoretical works, while on the other, exceeds their scope in the world and poetic vision that it presents. In doing so, I propose a roadmap to rethink Wang’s poetic thought in the light of his own compositional practices.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115393019","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

從《費諾洛薩筆記》看森槐南的李白詩解釋从《费诺洛萨笔记》看森槐南的李白诗解释

人文中國學報 Pub Date : 2020-01-01 DOI: 10.24112/sinohumanitas.292026

部剛長谷

{"title":"從《費諾洛薩筆記》看森槐南的李白詩解釋","authors":"部剛長谷","doi":"10.24112/sinohumanitas.292026","DOIUrl":"https://doi.org/10.24112/sinohumanitas.292026","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000費諾洛薩（Earnest F. Fenollosa, 1853—1908）1901 年在日本跟從森槐南學中國古典，留下了三冊關於中國古典詩歌的筆記，即《費諾洛薩筆記（Fenollosa’s Notes）》。龐德（Ezra Pound）Cathay（1915）基本上依靠《費諾洛薩筆記》而做成。雖然《費諾洛薩筆記》是研究龐德中國詩英譯的最重要資料，但是由於客觀限制，即使如 Wai-lim Yip Ezra Pound’s Cathay（1969）等先行研究成果也只是看到了《費諾洛薩筆記》中同 Cathay 相關的小部分、未能參看筆記整體。本文則依靠《費諾洛薩筆記》中李白詩部分以及森槐南《李詩講義》等比較全面的資料來探討森槐南的李白詩解釋。 \u0000Earnest F. Fenollosa (1853-1908) studied Chinese classical literature under Mori Kainan (1862-1911) in Tokyo in 1901 and left three notebooks about Chinese classical poetry, which have been referred to as “Fenollosa’s Notes.” These notes formed the framework of Ezra Pound’s (1885-1972) Cathay. Despite the importance of “Fenollosa’s Notes” for the study of Pound’s Cathay, for some reason, not enough attention has been given to these notes. For example, in one of the earliest studies of Pound, Wai-lim Yip only referenced a small part of “Fenollosa’s Notes” in his Ezra Pound’s Cathay (1969). The present essay attempts to make use of “Fenollosa’s Notes,” Mori Kainan’s Rishi Kougi (Lecture Notes on the Poetry of Li Bai), and other relevant sources to reconstruct Mori’s interpretation of Li Bai’s poetry.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"43 3‐4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120835098","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

東亞漢詩的艷情傳統———以琉球詩人蔡大鼎爲例东亚汉诗的艳情传统———以琉球诗人蔡大鼎为例

人文中國學報 Pub Date : 2020-01-01 DOI: 10.24112/sinohumanitas.292030

明明張

{"title":"東亞漢詩的艷情傳統———以琉球詩人蔡大鼎爲例","authors":"明明張","doi":"10.24112/sinohumanitas.292030","DOIUrl":"https://doi.org/10.24112/sinohumanitas.292030","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000晚清琉球詩人蔡大鼎曾以使臣身分遍遊中國諸省，其中不乏冶遊之作。對前代士妓雅情之追慕與模仿促成其“意淫觀”在艷詩中的體現。另一方面，在選擇性書寫的意識下，蔡氏的大部分艷詩並不帶有過多個人情感色彩，而是直觀地描繪晚清時期的青樓實況。此外，蔡大鼎的“島女情結”揭示了其艷情外衣下征夫思婦主題的內核。藉助琉球蔡氏的艷詩創作，再反觀朝鮮、日本等國，其艷情傳統各有淵源，並呈現出本國文化的特徵，綜合比較可見艷詩一體在東亞各國的受容與傳播境遇。 \u0000Erotic poetry is a unique style of Chinese poetry in East Asia. Cai Dading (Japanese spelling: Sai Taitei, b. 1823), a poet who hailed from Ryukyu but traveled to numerous provinces in China in his tenure as an envoy, wrote a number of poems on pleasure seeking in entertainment quarters. His admiration and emulation for the interactions between intellectuals and entertainers gave rise to his “poetics of psycholagny.” On the other hand, his selective approach towards writing resulted in poetic works that were not really colored by personal feelings but were simply realistic reconstructions of imagery from entertainment quarters in late Qing times. In addition, his “attachment to island ladies’ sentiments” are revealed in his dealing with the traditional theme of “the sojourner missing his forlorn wife.” Comparing Cai’s erotic poetry with its counterparts in Japan and Korea, we observe that they each had distinct origins marked by their respective national characteristics. This comparative study shall yield hints to the reconstruction of how erotic poetry was received and transmitted in East Asian countries.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126421413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

據上博楚簡訂補楊伯峻《春秋左傳注》十則据上博楚简订补杨伯峻《春秋左传注》十则

人文中國學報 Pub Date : 2020-01-01 DOI: 10.24112/sinohumanitas.292023

詠健李

{"title":"據上博楚簡訂補楊伯峻《春秋左傳注》十則","authors":"詠健李","doi":"10.24112/sinohumanitas.292023","DOIUrl":"https://doi.org/10.24112/sinohumanitas.292023","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000楊伯峻（1909—1992）《春秋左傳注》是近代重要的《左傳》注本。該書總結前人的研究，爲《左傳》全書作了通盤注釋。惟是書出版至今有年，期間有不少楚簡文獻出土，當中部分內容更可與《左傳》記載相互印證，對校訂《左傳》甚有裨益，亟待加以利用。本文即以2001至2012年間出版的《上海博物館藏戰國楚竹書（一至九）》所録文獻爲依據，就簡文與《左傳》相關之十處內容作比較分析，以訂正或補苴楊注。 \u0000Yang Bojun’s (1909-1992) Commentary on the Annals of the Spring and Autumn Periods with Zuoqiu Ming’s Exegesis (Chunqiu Zuozhuan zhu 春秋左傳注) has been regarded as an important commentary on the Zuozhuan since its publication in the late 20th century. Making use of relevant scholarship, Yang provides comprehensive and thorough annotations on the Zuozhuan. However, with the discovery of excavated texts in the last few decades, some of the commentaries by Yang need rectification and supplementation. The present article aims to re-examine selected commentaries by Yang in his Chunqiu Zuozhuan zhu in light of evidence from a collection of excavated bamboo slips dated from the Warring States period, which is preserved in Shanghai Museum and the images of which were published in nine volumes from 2001 to 2012. Through a comparative study of the text of the Zuozhuan and relevant Chu bamboo slips, the author of this article discusses ten selected parts of Yang’s commentary.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121060068","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

同志文學翻譯之叙事建構：以白先勇作品《孽子》的英譯爲例同志文学翻译之叙事建构：以白先勇作品《孽子》的英译为例

人文中國學報 Pub Date : 2020-01-01 DOI: 10.24112/sinohumanitas.292033

波李

{"title":"同志文學翻譯之叙事建構：以白先勇作品《孽子》的英譯爲例","authors":"波李","doi":"10.24112/sinohumanitas.292033","DOIUrl":"https://doi.org/10.24112/sinohumanitas.292033","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000一直以來，同性戀都是一個敏感話題，甚至是社會禁忌。中文“同志文學”的書寫和翻譯在在於文化與意識形態紛繁衝突的語境下進行。雖然近年國際翻譯研究學界愈來愈關注同志文學翻譯議題，相關研究在中文學界卻並未得到重視。蒙娜•貝克（Mona Baker）於《翻譯與衝突：叙事性闡釋》中指出，透過建構策略（framing strategies），“譯者、出版商、編輯以及參與到整個翻譯出版過程的相關人員，在譯文中對原文叙事進行强調、弱化或者改變”。基於此，本文透過分析白先勇小說《孽子》的英譯本，討論各種語言及非語言符號資源如何被運用，從而實現標示等建構策略重構譯文，並最終對譯文進行凱斯•哈維（Keith Harvey）提出的“同志主題强化”（gayed translation）。 \u0000Homosexuality has always been a sensitive topic and even a social taboo. Translation studies in the West have witnessed an increase in academic attention given to the translation of gay literature in the past two decades. In contrast, it has remained largely unheeded in the Chinese scholarly world, where the writing and translation of gay literature has always been closely associated with cultural and ideological conflicts. In her Translation and Conflict: A Narrative Account, Mona Baker points out that through framing strategies, “translators and interpreters-in collaboration with publishers, editors and other agents involved in the interaction-accentuate, undermine or modify aspects of the narrative (s) encoded in the source text or utterance.” This paper is a study of the English translation of the Chinese founding work of gay literature, Niezi (Crystal Boys) by Pai Hsien-yung, which proves to be a supporting example of what Keith Harvey calls “gayed translation,” through labeling strategies and other non- linguistic resources.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"57 6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126068290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

間架的美感：試探長調過片的抒情類型與表現间架的美感：试探长调过片的抒情类型与表现

人文中國學報 Pub Date : 2020-01-01 DOI: 10.24112/sinohumanitas.292027

佳韻余

{"title":"間架的美感：試探長調過片的抒情類型與表現","authors":"佳韻余","doi":"10.24112/sinohumanitas.292027","DOIUrl":"https://doi.org/10.24112/sinohumanitas.292027","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000本文從詞調著眼，探討長調過片的抒情類型與表現。首先釐清“過片”與“换頭”兩者之内涵。以爲宋代的“换頭”爲音樂術語，“過片”則與文意結構相涉，皆指向下片開頭處。至明清以降則多以“换頭”稱之。其次，過片的抒情形態取決於詞調的屬性，詞調的過片類型依據情感收束性的有無可分爲環狀結構與綫性結構兩種。前者指過片處對上片情感進行整合、收束，或轉折，形成跌宕頓挫的美感。後者的過片往往打破上下片的界分，成爲一流貫的叙事語脈。這也是長調發展至南宋以後，爲迎合不同抒情場域的需要所發展而成的新抒情樣態。希冀藉由本文的討論，初步梳理過片結構與抒情方式的關係。 \u0000Focusing on the tunes of ci-poetry, this article is an attempt to analyze the lyrical types and expressions of the beginning of the second stanza of a poem (guopian 過片) in long tunes (changdiao 長調). The first task is to give a clear definition to guopian. In the Song dynasty, the term referred to the first phrase or paragraph of the second stanza of a ci-poem. Since the Ming and Qing dynasties, however, guopian was instead called “change of the head” (huantou 換頭). In addition, the lyrical type of a guopian was determined by the attributes of the tune-title. According to the manner of emotional expression, the structure of a guopian can be divided into two categories, namely loop structure and linear structure. The former refers to the guopian that functions as integration, condensation, or transition of the emotion expressed in the preceding stanza. It forms a kind of aesthetic effect of fluent rhythms. The latter, linear structure, refers to one that usually divides the two stanzas in a poem and thereby forms a coherent narrative flow. This was a new mode of changdiao poems in the Southern Song, which catered to the needs of the different milieus of lyricism.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134024862","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

明茅暎評點《牡丹亭》析論明茅暎評點《牡丹亭》析論

人文中國學報 Pub Date : 2020-01-01 DOI: 10.24112/sinohumanitas.292028

麗容羅

{"title":"明茅暎評點《牡丹亭》析論","authors":"麗容羅","doi":"10.24112/sinohumanitas.292028","DOIUrl":"https://doi.org/10.24112/sinohumanitas.292028","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000從茅暎評點《牡丹亭》出發，可總結出八項內涵：（一）印象批評；（二）對湯氏主情之說之評點；（三）對湯氏寫作技巧之批評；（四）對臧懋循改本之批評；（五）對湯劇與元雜劇關係之評點；（六）對明代流行語“當行”、“本色”之觀點；（七）對湯劇與唐詩、宋詞之關係之評點；（八）雜評等。將茅暎評點與其同時代之曲家作比較，亦可發現當代曲家大多以“場上演出”之角度著眼，而茅暎則從“案頭欣賞”之觀點出發，所以產生了不同的結論。茅暎之評點觀在明代並非普遍，然就湯顯祖所主張“文以神、色、意、趣爲主”之立場而言，茅暎無愧爲湯氏之知音。而茅暎以案頭文字爲觀點之批評，雖非當代主流，然若從文學史角度看，絕對可與唐詩、宋詞所形成之韻文史相銜接，而成爲文學史在明代韻文中與唐詩宋詞相銜接之關鍵，從而擴大明代文學史之討論範圍；就此點而論，茅暎之評點《牡丹亭》居功厥偉，亦爲其評點中，意義非凡之所在。 \u0000This study of Ming-dynasty critic Mao Ying’s comments on The Peony Pavilion consists of eight aspects, namely: (1) impression critique; (2) comments on Tang Xianzu’s (1550-1616) emphasis on love; (3) criticism of Tang’s writing skills; (4) critique of Zang Maoxun’s (1550-1620) revision of the play; (5) comments on the relationship between Tang’s play and Yuan drama; (6) views of the Ming-dynasty popular terms danghang (“professional”) and bense (“original colors”); (7) comments on the relationship between Tang’s play and Tang shi-poetry and Song ci-poetry; and (8) miscellaneous comments. This study compares Mao Ying’s comments with those of his contemporaneous playwrights, arguing that playwrights of his time mostly focused on stage performance while Mao treated the plays (i.e., the scripts) as “readers for enjoyment” and, thus, they came to different conclusions. The approach of Mao Ying was not common in the Ming Dynasty. However, Mao’s sharing in Tang Xianzu’s advocacy that “the cores of literature include spirit, guise, idea, and aesthetic appeal” shows that he was certainly a true fan of Tang. Although Mao’s comments on the play as a reader were not mainstream at the time, from the perspective of literary history they certainly can be regarded as a continuation of the poetic history formed by Tang shi-poetry and Song ci-poetry and a crucial link that connects Tang-Song poetry with Ming poetry. Hence, the contribution of Mao’s comments on The Peony Pavilion is exceptional and significant.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127676196","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

錢志熙：《陶淵明傳》钱志熙：《陶渊明传》

人文中國學報 Pub Date : 2020-01-01 DOI: 10.24112/sinohumanitas.292035

淑莉劉

{"title":"錢志熙：《陶淵明傳》","authors":"淑莉劉","doi":"10.24112/sinohumanitas.292035","DOIUrl":"https://doi.org/10.24112/sinohumanitas.292035","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese only. \u0000陶淵明是中古著名詩人，硏究他的著作可謂汗牛充棟，但是，錢先生在代序《田園中的生命沉思——以一種新的期待閱讀陶淵明》中，揭明了本書的新創所在：政治當然也是陶淵明人生中的重要主題，尤其是他與他所處的政治背景中的複雜關係，其真相還有許多我們現在沒法究明的。但淵明思想與感情的全部主題，遠非政治這一個主題所能局限。政治雖然那樣密切地聯繫著陶淵明的人生，但畢竟是短暫的，稍縱即逝；並且政治上的是非，決非淵明思考的終極，他情感的最後歸宿也是超越在政治之上的。陶淵明的那份情緒與思考，則更帶有永恒性的內容，只有用生命這個主題去闡發它，才可能真正進入他的內心世界。也只有我們把握住詩人生命中的這份沉抑與激揚之後，才能真正欣賞他的超越與平淡，真正領略他詩中的田園之美與隱逸生涯的情趣，並且真正了解它們的價値。”而在本書的《尾聲：啟示與感想》中，錢先生認爲“淵明是高度實現了自我的人，淵明的詩歌是人生與藝術的高度統一”，本書即是圍繞陶淵明的人生、自我、藝術展開，試圖告訴我們陶淵明是如何直面現實人生，即如何面對仕與隱之矛盾，如何解決心靈問題，如何成就爲己之學與進行詩意化表達情感的。現僅從以下三方面認知。(撮要取自內文首段)","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129681792","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

論《唐詩別裁集》的“諸體兼善”說论《唐诗别裁集》的“诸体兼善”说

人文中國學報 Pub Date : 2019-06-01 DOI: 10.24112/sinohumanitas.282042

美朱陳

{"title":"論《唐詩別裁集》的“諸體兼善”說","authors":"美朱陳","doi":"10.24112/sinohumanitas.282042","DOIUrl":"https://doi.org/10.24112/sinohumanitas.282042","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000沈德潛在《唐詩別裁集·凡例》曾提出：“唐人詩，無論大家名家，不能諸體兼善”的論點，並以杜甫絕句少唱歎之音，韋應物不善七言，劉禹錫不工古詩，韓愈不專近體作爲例證。以上論點並見於《別裁集》初刻本與重訂本，並未因《別裁集》的重訂而有所調整，堪稱是沈德潛一以貫之的詩學論點。 \u0000但在深入檢視《別裁集》的選詩内容後發現，初刻本中各種詩體都被選録的詩家高達10人，重訂本也有9人之多。可見唐代詩家若真如沈德潛所謂“無論大家名家，不能諸體兼善”，然則選本中高達十位詩家“諸體兼選”的現象，不免令人生疑。此外，結合卷前凡例與相關評語，可發現沈德潛對於唐代詩人王維的各體詩作，均未有負面評論，但若以王維爲《別裁集》中“諸體兼善”之代表，何以王維在《別裁集》的選詩總數低於杜甫、李白？再者，“諸體兼善”與杜甫的“集大成”的稱譽又有何不同？本文透過“諸體兼善”說，重新檢視這本在清代深具影響力的唐詩選本，除了釐清以上問題外，也期能對王維在“以李、杜爲宗”的《別裁集》所呈現的樣貌，以及沈德潛對王維詩歌的評價，進行全面性的考察與詮釋。 \u0000In the “General Rubrics” of his Tangshi biecai ji, Shen Deqian (1673-1969) states that “no Tang poet, even a prominent one, was proficient in all poetic (shi) forms.” To support this statement, Shen gives examples such as Du Fu (712-770), Wei Yingwu (737-792), Liu Yuxi (772-842), and Han Yu (768-824), who were respectively not good at writing quatrains, hepta- syllabic verse, ancient-style verse, and recent-style verse. This viewpoint is consistently found in the first print of this anthology and remained intact in the revised edition. \u0000A careful examination of the anthology, however, reveals some ambivalence. In the first print, there are up to ten poets whose works in all poetic forms are anthologized; in the revised edition there are nine such cases. One cannot help but cast doubt on Shen’s view that “no Tang poet was proficient in all poetic forms.” Moreover, based on the “General Rubrics” and other remarks in his book, Shen makes no negative comments on Wang Wei’s compositions in all poetic forms. Then why did Shen anthologize fewer poems by Wang Wei than those by Du Fu and Li Bai (701-762)? In addition, what is the difference between “proficiency in all poetic forms” and “convergence of great perfection,” a common praise of Du Fu’s poetic achievement? \u0000This paper focuses on the theory of “proficiency in all poetic forms” in its discussion of this influential anthology. In addition, it also conducts a comprehensive examination and commentary on the image of Wang Wei as presented in the anthology, which takes Li Bai and Du Fu as models.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132129816","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

楊聯陞：《漢學書評》杨联升：《汉学书评》

人文中國學報 Pub Date : 2019-06-01 DOI: 10.24112/sinohumanitas.282048

右典梁

引用次数: 0

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