陶謝並稱對其文學範型流變的影響－兼論陶謝“田園”、“山水”詩類空間書寫的區別

中國文學史上向有一種以詩人對舉相稱的傳統。如陶謝、李杜、韓柳、元白、蘇黃、蘇辛等。但是在這些對舉的作家中以陶謝對舉的議題最為錯綜複雜。陶謝對舉出現之前，原為顏謝並稱，而後又有二謝、鮑謝穿插其間；表面上看來，陶謝對舉似乎一直以謝靈運為重要的隱性主軸，但實際上，謝靈運一旦和陶淵明對舉之後，卻處處成為陶淵明巨燭映襯下的背景人物。首先是在慧遠蓮社故事系統中，成為「心亂」的負面教材；其次在中國仕隱傳統中，謝靈運一旦和陶淵明並列，又成為仕隱出處失節的瑕疵者；即使在文學形象的對比中，謝靈運也成為雕琢繁蕪的集大成者。當然，陶謝並稱對於謝靈運形象的影響也並不完全是負面的。最明顯的是在並稱的對照中，陶淵明一旦被聚焦於田園詩的光譜中，謝靈運則微妙地被推舉成山水詩的代表，終而發展成中國文學中田園與山水的兩大詩類。本文意在詳述其發展的過程，並探究個中原具的質素。

關鍵字

陶淵明；謝靈運；陶謝並稱；山水詩；田園詩

並列摘要

There has long been a tradition of putting different poets into the same category and doing juxtaposed comparison, for instance, Tao-Xie, Lee-Tu, Hen-Liu, Yuen-Bi, Su-Hung and Su-Xing, etc. Among all these writings, the issue of Tao-Xie Juxtaposition is the most complex one. Before Tao-Xie, there were Yien-Xie, later on the Two Xies, and Bow-Xie appeared somewhere in between. It seems that in the Tao-Xie juxtaposition, Xie Ling-yun shall be the primary key; but in fact, once Xie Ling-yun was put on a par with Toa Yuen-ming, he became a sentimental figure compared to Toa Yuen-ming. First, in the series of Hui-yuan Buddhism story system, he was the negative material of ”heart chaos.” Afterwards when it came to the Chinese tradition of ”to be a official or not,” putting Xie Ling-yun on a par with Toa Yuen-ming made Xie a person with the flaw who forfeited his integrity on such a matter. Even on the issue of literary achievement, Xie Ling-yun was the representative figure of complicating the flowery words. Surely the effects on the image of Xie Ling-yun from Tao-Xie juxtaposed comparison are not all negative. It is obviously seen in the popular contrast of Xie Ling-yun as the symbol of ”Landscape poetry” while Tao Yuen-ming the focus of the ”Farm poetry.” These phenomena finally developed into the two main categories of Chinese Literature-”Farm poetry” and ”Landscape poetry.” This article is to explore the origin and to describe the process of such a development.