李白詩的光影與飄逸風格的關係：兼論李杜異同

The Light Element in Li Bo's Poetry and the Styles of Playful Lightness: The Contrast with Du Fu

梁敏兒(Man-Yee Leung)

《東華人文學報》 13期 (2008/07) Pp. 31-66

https://doi.org/10.6420/DHJHS.200807.0031

摘要

李杜對舉，相同點在氣象，相異之處在一飄逸，一沉鬱。以這種既有相同又相異的方式作對舉，始於嚴羽的《滄浪詩話》，歷來評家對於嚴羽詩論究竟取禪家之「靜」還是盛唐氣象的「動」，都有爭論。本文試圖從偽托嚴評本討論字詞句子層面的靜境開始，考量李白詩的飄逸風格如何可以有靜的面向，從光、冷、乾、輕等元素，考究了李白詩如何取養於傳統，又如何能與杜甫詩風格對立。本文的主要結論包括：1)嚴羽推重盛唐詩，並以李杜對舉，在評論的時候，則多談動，少談靜，不過在以禪論詩的時候，又和偏靜的禪境相涉，故嚴評本托為出自嚴羽手筆，有其內在原因；2)李白詩飄逸風格的特徵，如果從字詞句的層面分析，的確有靜態的面向，這種靜態的面向，許多時會以多重相類涉的字詞同時多次重覆出現，從而調動多重感官來達至光、冷、乾、輕的效果；3)李白在繼承六朝以來的傳統過程中，也充分表露了自己的取捨，並發揚光大；4)飄逸風格中的光、冷、乾、輕等特徵，從李杜相異之處的對舉角度而言，極具意義。

關鍵字

嚴羽 ； 李白 ； 風格學 ； 飄逸 ； 清 ； 光

並列摘要

The poems of Li Bo and Du Fu are similar in their startling spirit, but contrast in styles with playful lightness versus condensed heaviness. Such a way of juxtaposition originated from Yan Yu's Canglang's Remarks on Poetry. Throughout history, whether the poetics of Yan Yu is based on the stillness of Zen or the activeness of High Tang's spirit has caused considerable controversy. How is the dimension of stillness possible in terms of Li Bo's style of playful lightness? To deliberate this question, we start with examining the discussion of stillness at the word and sentence levels in a fake version of Yan Yu's commentary on the poems of Li Bo. With reference to the elements of brightness, coolness, dryness and weightlessness, we investigate how Li Bo nourished his own style from tradition on one hand, and developed a contrasting style from that of Du Fu on the other. The major conclusions of the present essay include: (1) Holding a high opinion on the poems of High Tang, Yan Yu highlighted the Li-Du juxtaposition. In the course of his commenting, more has been on activeness than on stillness. When he discussed the poems from the Zen perspective, nonetheless, the still spirit of Zen was involved. The emergence of the fake version of Yan Yu's commentary has its inner logic. (2) The analysis at the word and sentence levels showed that Li Bo's style actually incorporated a dimension of stillness. This dimension was often made possible by the repeated use of related words in a certain category, mobilizing multiple senses to achieve the effects of brightness, coolness, dryness and weightlessness. (3) In the process of inheriting the tradition since the Six Dynasties, Li Bo had also fully exercised his own choices and further developed them remarkably. (4) With respect to the angle of Li-Du juxtaposition, the elements of brightness, coolness, dryness and weightlessness that characterize the style of playful lightness are imbued with special meaning.

並列關鍵字

Yan Yu ； Li Bo ； stylistics ； styles with playful lightness ； qing ； light

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