唐李康成《玉臺後集》蠡測———“玉臺詩史”、“玉臺美學”的建構

LANGUAGE NOTE | Document text in Chinese; abstract also in English. 本文探討李康成《玉臺後集》。作爲一部失傳已久、由現代學者重加輯録的殘本，自其序言可知編纂動機、原始規模、選録標準，配合選集中詩家與選詩的個案研究，以及中晚唐的詩歌發展現象，足以掌握這部經典續編的意義。可以說，李康成的編纂反映了從南朝延續到唐代的典律之爭，於《文選》的崇盛風潮下，意圖以《玉臺後集》揄揚《玉臺新詠》的詩學價值，透過這部續編，一方面是“玉臺詩史”的完整建構，一方面則是“玉臺美學”的全面確立，而這兩個範疇彼此互爲強化，亦即“玉臺詩史”的建構延續了“玉臺美學”的確立，而“玉臺美學”的確立又有助於“玉臺詩史”的建構，從而擴大《玉臺新詠》的影響力。 值得注意的是，《玉臺後集》作爲對《玉臺新詠》的接受反應，失傳後保留其殘篇的後世文獻又呈現出對《玉臺後集》的接受反應，將此一獨特的歷時現象給予綜合觀察，將展示出“玉臺美學”備受壓抑的高度生命力，以及“玉臺詩史”的淵遠流長。 In Chinese literary tradition, an anthology is always a powerful means to express literary thought and to initiate or continue an attitude towards literary composition and criticism. This is especially the case in the Tang, as poetry anthologies compiled by Tang critics reveal the poetic thought of Tang poets and anthologists. This paper proposes to study a Tang poetry anthology, the Yutai houji (Sequel to the Jade Terrace), with a focus on ideas about the significance and the value of poetry revealed therein. Yutai houji is the first sequel to the sixth-century anthology Yutai xinyong (New Songs from the Jade Terrace). Very little has hitherto been done to this anthology mainly because of its fragmentary status. Despite the dearth of relevant information, the present essay aims to study the attitude of this anthology. The discussion will focus on two aspects. The first is about the history of Tang poetry in the Yutai style (so called Yutai poems); the second is about the Yutai aesthetics. This study is expected to shed some light on the role and significance of Yutai houji in traditional Chinese literary criticism, a topic that has long remained unheeded and understudied.