東坡清曠詞風初探－－以月夜詞為考察中心

Exploring the “Ching Quang” Writing Style of Dongpo’s Ci—Based on “Moon Night Ci”

黃筠雅(Yun-Ya Huang)

指導教授 ： 劉少雄

國立臺灣大學/文學院/中國文學研究所/碩士(2011年)

https://doi.org/10.6342/NTU.2011.10305

摘要

本文主要是以東坡的「月夜詞」為考察中心，初步窺探東坡「清曠」詞風在生命境界、語言文字和詞體特質上的展現。

「清曠」是東坡詞中相當重要且特殊的風格，是東坡異於其他詞家的主要特色。「詞」之文體，最具陰柔之美，最能「曲盡人情」，很容易令人面對生命中很本質、很深微的問題；而「清曠」詞風的形成，即是東坡透過詞體，寫出真實面對內在困境，並且一再超越的過程而得。「清曠」一詞，包含了美學上清雅、清遠的藝術特質，同時也點出了東坡追求生命境界的自覺，並蘊含了東坡內在「由窄處轉向寬處」的特殊生命歷程。而「月亮」在中國傳統之中，即是一個非常陰柔的意象，當東坡於夜晚中抬頭望月，所面對的可能便是內心深處最在意之事。因此，我們期望能探究東坡在月夜的情境之下，如何真誠面對自身困境、如何超轉，並且從他如何描寫月亮形貌以及賦予月亮的象徵意涵中，看見東坡內在心路歷程的變化，及其與之相應的文學藝術的表現。

研究發現，月夜詞中的藝術形貌，乃隨著東坡內心世界而轉變。隨著東坡心境的逐步開闊，東坡筆下的月亮形貌亦逐漸柔和、清朗。由「月體」、「月光」再到「水月」的書寫變化，實具體映現著東坡逐漸朗闊的心境。此外，對於句法的運用、章法的安排亦更加靈活，大體而言呈現出清疏朗闊的藝術特質，且多能於圓轉靈活的句法與章法中，蘊含著豐潤動人的真情實意，與歷練過後的踏實智慧。東坡月夜詞，實銘記著東坡由窄處往寬處翻轉之際，所帶來內外整體諧和的變化。除此之外，透過月夜詩、詞的比較，則可發現「清曠」的特質雖來自於東坡胸臆，在不同文體中卻有著不同的面貌，顯示著東坡擇體的自覺。而屬於「詞」體的清曠風格，則是東坡內在深處「情理跌宕」的結果，因而能夠打下屬於東坡個人的印記，開創出特殊的詞體風格。

關鍵字

東坡詞 ； 清曠 ； 曠 ； 月夜詞 ； 月意象 ； 境界 ； 風格

並列摘要

This essay is based on Dongpo’s “moon night ci”, exploring Dongpo’s “Ching Quang”, an unlocked writing style of ci poetry, and how it’s shown in his life boundary, the use of language and the features of ci style.

“Ching Quang” is a very important and unique style of Dongpo ci, and it’s the main characteristic that Dongpo is different from other ci writers. The literary form of “ci” is full of feminine beauty. It conveys human sentiments most effectively, so that people can easily face those abstruse and essential questions of life. The forming of the “Ching Quang” writing style shows how Dongpo presented internal distresses in his ci writings, how he faced them, and how he exceeded again and again. The word “Ching Quang” includes the artistic characteristics like elegance and gracefulness, also pointing out Dongpo’s self-awareness in pursuing life boundary. Moreover, it contains Dongpo’s special life course of “turning from the narrow to the wide”. As for the “moon”, it has always been a very feminine image in Chinese culture. When Dongpo lifted up to see the moon at night, he was probably facing something that he cared the most, deep inside his heart. Therefore, we expect to explore how Dongpo faced his own difficulties genuinely, and how he reversed the situations, under the moon night. Also, from the way he described the image of the moon and the symbolic meaning of it, we can see the change of Dongpo’s mental journey, and the corresponding literary art performance.

Research shows that the artistic appearance of the “moon night chi” changes with Dongpo’s inner world. As Dongpo became more and more open-minded, the image of the moon in his writing became tender and bright. From “the moon”, “the moon light” to “the water moon”, Dongpo’s change of writing specifically reflects his gradually-widened mind. Besides, Dongpo’s use of sentence structure, and the arrangement of ways of presenting ideas has become more flexible, showing a clear and bright artistic feature. The nimble utilization of sentence structure and ways of presenting ideas implies the moving affection and experienced wisdom. Dongpo’s “moon night ci” actually recorded the harmonious change of the inside and outside world of his, when Dongpo was going through the transition from the narrow to the wide. In addition, through the comparison of moon night shi and ci, we can find that the ”Qing Quang” feature, which comes from Dongpo’s mind, is shown differently in different forms of poetry, showing how Dongpo selected his form of writing. The “Qing Quang” chi style is the “rise and fall of reason” deep down in Dongpo’s heart, so it can be an individual mark of Dongpo’s and start a special style of writing ci poetry.

並列關鍵字

Dongpo ci ； Qing Quang ； Quang ； moon night ci ； moon image ； boundary ； style

參考文獻

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