王安石以人名入題之詠史詩研究

A Study of “Narrative Poems composed on historical events, Themed and Named on the Accounts of Historical Figures” composed by Wang An-shih

林雅鈴

指導教授 ： 李貞慧

國立清華大學/人文社會學院/中國文學系/碩士(2014年)

https://doi.org/10.6843/NTHU.2014.00010

摘要

本論文從「王安石以人名入題之詠史詩」切入，結合王安石的生平背景，析論這些大多創作於熙寧二至五年，亦即王安石政治生涯高峰的作品，從中觀察王安石的歷史思想、政治期待，以及對於君臣關係和儒學的看法。王安石的人名詩，雖然也是透過古人古事言志抒情，卻常有其特殊回應的目標──或為新法及其自身辯誣、或站在儒家義理的角度對於史事提出質疑與新解、或透過詩作抒發不遇的鬱鬱之情等等。這些詩作表現其個人觀點，在詠史詩流變當中有其重要性。
王安石人名詩中表現出的議論特色十分可觀，他偶爾會使用散化的文字入詩，並於人名詩中展現對於古人古事之評價，透過如翻案、借古諷今等議論手法來申述主張。但這些詩作雖然得到諸多讚譽，卻也曾被批評缺乏藝術形象；其實王安石的人名詩當中也有符合「主情」標準的一面，但即使這些詩作並不以「主情」為重點，仍不可遽以缺乏溫柔敦厚之詩教，或是藝術手法太過簡陋來否定其價值，因為議論特色才是這些詩作值得深究之因。王安石的人名詩，恰可為宋人「以議論為詩」、「重理」之說佐證。在詩歌議論性受到關注的宋代，這樣的詩歌具有承先啟後、開拓新面向的價值。
王安石的人名詩，不只是具有回應對象的特殊言志詩，與傳統詠史詩不同的是，他加強了詩歌與傳敘文學間的聯繫。例如選擇詩歌體裁創作人名詩時，他常使用絕句體式創作有「句絕而意不絕」的論贊效果、符合前人對於史傳論贊的定義，達成如辯惑釋疑、省文、褒貶人物並抒發己意等成效的詩作；在寫作古詩作品時，則側重於析論義理，或是運用古詩相對自由的形式寫作具有史傳敘述功能的作品。除此之外，王安石的人名詩還會反覆以古詩或絕句等體裁歌詠同一歷史人物，各詩雖獨立成篇，但若將其合而觀之，則可發現古詩多為紀錄人物生平的傳敘部分，絕句則扮演了論贊的角色。將這些人名詩作，與紀錄同一歷史人物事蹟的正史傳敘文相比，更可清楚了解王安石選取人物事蹟入詩的方式，以及他對於該人物的評價。他對於古人的評價，往往能取法前代史家論贊，但更重視史論上的創新與突破，藉此表現其政治與歷史思想，以及以儒者立場對於史事思辨求真之精神。

關鍵字

王安石 ； 詠史詩 ； 歷史人物 ； 傳敘文學 ； 議論 ； 宋詩

並列摘要

This thesis sheds light on the historical tenets and political ambitions of Wang An-shih, as well as his views on both ruler-ministers relationships and Confucianism.
This work combine all his poems blanketly for the “Wang’s Figure-Name-themed Narrative Poems” while also pondering over Wang's lifetime background in historical context and analyzing these poems that were mostly composed during Wang's prime as a highest-ranking career politician (since Xi-Ning second year to fifth year).
Naturally, Wang's Figure-Name-themed Poems were ways of expressing his aspiration and emotions through epic events of ancients. Additionally, those poems often bear particular responsive purposes, for example, in order to clarify misunderstandings on the “New Fiat” promoted by his best endeavors; to argue for himself against mudslingings; or according to the code of ethics and good deeds to serve a stance hold as a Confucianist to provide both the interpellations and henceforth the creative interpretations on those epic events; or to shake off his depression for failing to be empowered from the emperor, etc. These literary works surely featured his points of view, and henceforth bear importance in the chronic transforms of Narrative Poems.
Wang’s Figure-Name-themed Poems considerably abounds with commentative characteristics, he occasionally coalesced the prose texts into his poems, made evaluations on those ancients’ epic events, and asserted his advocation by way of argumentative writings through rebuttal commentary, and disparaging the contemporary by use of anecdotes.
Although these literary works received many appraisals, some criticisms about their lack of artistic images had also prompted. Actually, Wang’s Figure-Name-themed Poems had already conformed to the standards of “Emotionalism”, although these poems did not intend to give prominence to the key point. However, the lack of graceful and sympathetic manners that should have been promoted by poems in its mandate- educational functions, and the simplicity without discernment in its artistic skills, altogether it's still not deemed as appropriate to abruptly negate their values just based on those above-mentioned comments. These poems deserve further study because of their well-featured commentative characteristics.
To certify the theory that Song Dynasty pays more concern on argumentative reasoning poetry, Wang’s Figure-Name-themed Poems perfectly provides the sound evidence. In the context of situation in Song era, his poems bear the value of: “the heir to ancient sages and the teacher of posterity”, and thus asserts himself to be able to “plowing into new dimensions”.
Wang’s Figure-Name-themed Poems are not just dedicated to aspiration-chanting in order to responding to rebuttals. They differ from traditional narrative poems by their emphases upon the connections between the poetry and biographical literature. For instance, when choosing the poetic style to compose the Figure-Name-themed Poems, Wang often adopted Four-line-rhyme (poetic form consisting of four lines, with rhymes on first, second and fourth line) style in order to bearing the commentary effects of “limited-words-with-never-ending-sense”; in order to conforming to the definition of “biographical commentaries” made by the ancients. These poems thus composed can produce such effects as: straighten out confusing points and clear up doubts; abridge expressions; glorify virtue and to censure evil; and declare himself, etc.
When writing articles in Ancient-verses, Wang emphasized on analyzing moral principles; or by taking advantage of the relatively more free style of Ancient-verses, to write literary works which bears the narrative functions.
Besides, Wang’s Figure-Name-themed Poems can chant the very same historical figure iteratively in different literary styles, whether it’s Ancient-verses or Four-line-rhymes. Every poem makes perfect paragraph of its own accord, and what appears if we collectively review them all. These Ancient-verses describes mostly the memoirs of the Figure’s epic events, while the Four-line-rhymes play the role on both commentary and criticism.
These Figure-Name-themed Poems, when compared with the historical biography of the same person’s account, the way Wang to choose certain event to be coalesced into the poems can be further clarified, and his evaluation on that person can also be well acknowledged. His evaluation on the ancients normally followed the example of the historians prior to him, however he put more emphases on the innovation and breakthrough of the commentaries, in order to demonstrating his political as well as historical tenets, and based on Confucianist’s stance also with demonstrating his spirit on pursuing reality of epic events through deliberation and discernment.

並列關鍵字

Wang An-shih ； Narrative Poems (composed on historical fact) ； Historical figures ； Biographical Literature ； Argumentative writing ； Poems of Song Dynasty

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