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| Title: | 神韻前史：以《詩歸》的杜詩選評為中心
The History of Poetry before the “Shen Yun” Theory: a Study on the Selection and Criticism of Du Fu’S Poetry by Shi Gui |
| Authors: | 陳英傑 |
| Contributors: | 中文系 |
| Keywords: | 杜甫詩;鍾惺;譚元春;《詩歸》;竟陵派;復古派;神韻說
Du Fu’s poetry;Zhong Xing;Tan Yuan-chun;Shi Gui;Jing Ling sect;the Revivalists;“Shen Yun” theory |
| Date: | 2018-10 |
| Issue Date: | 2024-07-04 14:12:28 (UTC+8) |
| Abstract: | 明代復古派創作實踐摹擬太甚、未能杼軸予懷，一直是揮之不去的疑雲。其所以如此， 原因容或多端，但最直接的因素，實是由其對古人典範之作的「閱讀重心」，乃聚焦在詩歌語 言表層的體格聲調層面，執此而摹擬之，流弊遂生。晚明竟陵派的崛起，則可視為一種「閱 讀重心」的挪移，有別於復古派，他們特別賞會古人內蘊之「精神」、「性情」。鍾惺、譚元春 所編選評點的《詩歸》，是其閱讀古人之具體結晶。他們到底讀到了什麼？是怎麼從詩歌文本 中讀出來的？有什麼意義？這都是值得釐清的問題。本計畫將以鍾、譚的「杜詩選評」為中 心，進行系統性的研究。初步梳理文獻可知，鍾、譚杜詩選評所觸及的議題、面向，甚為豐 富、多元，亦別具異采。從《詩歸》杜詩篇目的選定上，已可看出迥別於復古派傳統的諸多 跡象。鍾、譚對於杜詩文本的評點、精讀（close-reading），儘管特異於傳統的「注疏」型態， 卻每能發掘作品的精神、情理或深意。針對杜詩的審美風格，他們改變了以往流行的「雄渾」 之說，轉向「幽澹」、「輕秀」，闡發其「禪」意，凸顯其「靈幻」、「奇幻」，至與「穩」、「奧」 相雜揉辨證，儼然建構出一種新的杜詩美學。令人尤感興味的是，鍾、譚的杜詩評點，實有 一種明顯的「向內轉」傾向，是以格外心儀於涵蓄淵永之妙。「妙在不曾說出」之類神秘的評 語，宛然和清初王士禛的神韻說同氣相應。其實這也是明代晚葉詩學發展的一大趨勢。緣而， 鍾、譚《詩歸》中的杜詩選評，在「神韻前史」的脈絡中，理當極具重要之意義。透過本計 畫之順利執行，預計可為上述豐富的議題、面向，提供一個系統性的研究成果。
It’s hard to get rid of the doubts that the revivalists’ works are too many imitations to express the real thoughts and feelings in Ming Dynasty. Many reasons result in this consequence, but the most direct factor is that their “main reading point” about ancients’ paradigm focuses on the stylistics, verse forms, and intonation of the words in poetry, so the imitations cause drawbacks. The emergence of Jing Ling sect in Late Ming Dynasty can be seen as a kind of shift on “key reading point”. Different from the revivalists, they especially appreciated the ancients’ “spirit” and “temperament”. Shi Gui, selected and criticized by Zhong Xing and Tan Yuan-chun, is the concrete results of their reading about ancients’ works. What did they read after all? How did they get the point from the texts of the poetry? And what’s the meaning? These questions are all worthwhile to clarify. This project will research on Zhong and Tan’s “selection and criticism of Du Fu’s poetry” systematically. Zhong and Tan’s selection and criticism of Du Fu’s poetry getting to the issues and aspects are abundant, various, and literary talented which can be known by clarifying the texts initially. From the content selection of Shi Gui, it can already be seen many traces different from revivalists’ traditions. Although it’s different from traditional type of “commentaries”, Zhong and Tan’s criticism and close-reading on the text of Du Fu’s poetry can often explore the works’ spirit, sense, and profound meaning. With regard to aesthetic style in Du Fu’s poetry, they changed “xiong hun” theory which had been popular before into “You Dan” and “Qing Xiu”. It has established a new kind of aesthetics about Du Fu’s poetry through illustrating the meaning of “Chan”, highlighting its “Spirit Magic” and “Fantasy”, and discriminating with “Secure” and “Profound”. The most interesting is that Zhong and Tan’s criticism on Du Fu’s poetry obviously tended to “turn inside”, so they especially admired the implicit and meaningful ingenuity. The comments like “ingenuity consists in which have never said” echoed Wang Shi-zhen’s Shen Yun Theory in Early Qing Dynasty. Actually, it’s also a general trend of the poetics development in Late Ming Dynasty. Thus, Zhong and Tan’s selection and criticism in Shi Gui have extremely important meanings in the history of poetry before the “Shen Yun” theory. Through the smoothly conducting, it can predict that this project will provide a systematical research results for the abundant issues and aspects mentioned above. |
| Relation: | 科技部, MOST106-2410-H004-166, 106.08-107.07 |
| Data Type: | report |
| Appears in Collections: | [中國文學系] 國科會研究計畫
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