柳宗元詩中的儒者創傷與佛、道轉化

本文以柳宗元詩為研究主軸，關注柳詩中的兩條主線，其一是透過山水抒發「孤單哀寂」的情緒，其二是「清淡味深」；並嘗試結合詩人的儒釋道思想討論這兩條詩歌主線，研究目的在於探討柳宗元儒者內在創傷和佛、道家轉化之間的聯繫，並論述思想與心理學的連結，如何影響其詩歌表現手法和情感之間的關係。本文第一章首先討論為文的研究動機在於以下三點，第一是為由子厚濃厚的儒者意識思考對經世濟民失落所造成的創傷，對於詩歌哀傷風格的影響，這是本文的研究動機之一。而希望在精神分析的角度剖析其創傷和理想化如何影響其詩風，亦作為本文所欲補充的部分，是研究動機之二。動機三是以宗教思想和創傷心理、宗教美學的角度上，以佛老美感討論其清空詩風，分析柳詩「清淡為深」的特點。除了說明研究動機，也列述有關於柳宗元生平歷史、思想研究、詩歌研究相關的文獻回顧，帶入所欲開展開的討論，是在其詩清淡哀寂的風格上，以儒者的情懷和佛老清道沖虛境界加以論述其詩歌美感，並從心理學和思想美學的角度分析柳詩情感哀愁和境界清淡的兩種拉扯，論述其心理轉化方式與傷痛倒敘所影響的詩歌美感。而第二章則論述中唐儒釋道的歷史背景，以及柳宗元個人的儒釋道思想觀，柳宗元的儒道觀，以中道觀為其核心，「大中之道」表現在於求「當」，也就是合理、應當的分寸。至於柳宗元的佛教思想也以中道為本，其通貫天台、禪宗、淨土宗，雖然吸收禪宗思想，但是批判當時狂禪不讀經、不修行不良風氣；而子厚的道家思想展現在其天人相分的自然觀，還有遊記、詩歌裡的逍遙自在。整體而言，柳宗元的儒釋道思想，以儒家思想為核心，他所吸收的佛教和道家思想是在可以助世的前提下，和儒家取得一個共同的融合，所以柳宗元的儒釋道思想融合，不僅具有文化的包容性，也具有積極救世、愛民的意義。柳宗元在儒家文化的影響下，以儒家「修己安人」、「內聖外王」為一生志業，所以以修己為本，不斷追求美善道德，本文嘗試結合卡倫．荷妮自我理想化理論討論柳詩，柳詩中就有自我理想化特徵，題材包含美好動物自況、追悼賢人、美化植栽等內容，其中投射自身道德才能的美好，但這樣的良好內在卻不得世人所理解，柳詩描寫美物的作品往往流露著不被欣賞的哀憐，正像是詩人的才幹和德性無法發揮一般。然而，儒者縱使有良好的內在本質，以敬德修業為本分，卻不能向外安人、成就外王事業，敬德修己的目標便會隨之落空，連帶懷疑起初道德修養的根源價值，簡言之外王若不能成就，就會連帶懷疑修己的意義。柳宗元詩中的落寞、焦慮在於他和人倫關係及外在社會環境斷裂，人倫關係的失落、空間上的遠遷，讓子厚不能使小我貢獻於社會，不能成就大我，安人、安民的理想隨之失望。即使作為儒者入世的理念在心中扎根，但是卻不為所用，形成其詩歌孤寂悲傷的情感。然而，柳宗元的思想除了儒家外，也和佛教、道家融合為一，佛、道兩家本體論上皆有造化萬物的本體根源，而工夫論相通之處皆是需要自省，重視返回本心的內在轉化，這種自省工夫呈現在詩歌中會表現清寂樸素的美感。柳宗元吸收佛、道二家的思想，展現在柳詩中清淡閒逸的作品大體圍繞在佛經文字、茶禪、自然山水的題材，這些詩作呈現佛家、道家的清幽素雅美感。筆者透過物我關係、山水空間布局兩方面，論述這些佛、道思想濃厚的作品，其中詩人自在地和外物和諧共處，與山水和他人之間不再兩隔，得以呈現真實的自我，表現超越的自由自在。至於山水空間佈局，柳詩空間構圖動中顯靜，靜景中生趣盎然，動靜渾然一體，畫面以幽靜樸素色彩意象為主，布局又多善於虛實相生、空中顯有的構圖來塑造空間與人物的合一，在空有互融的布局中，凸出詩人愜意淡泊的心境。因此，柳宗元的詩作也並非全然是哀嘆憂傷的風格，涉及佛、道思想的作品，反而多呈現真誠的內在美好，詩人在貶謫以後，有意藉由佛、老思想排遣個身的哀痛，在詩中表現清幽的美感。本文在前面歸納出柳詩有兩條線路，其一是清空閒散為超越圓融的境界，這根基於柳宗元的佛老思想；其二則是柳詩執著的深情憂愁，深情憂愁則根基在知識份子的儒家淑世深情底蘊。這兩者看似矛盾糾結的風格，卻得以渾然一體在柳詩中並融，儒釋道思想的融合下，使柳宗元的詩歌融合了入世的深情和出世的清空寂靜，即使附有一絲的憂鬱哀愁，卻不是那麼強烈直接，反而是在超越和困境之間努力的掙扎與轉化，使柳詩富有淡淡的哀愁，故而在儒釋道思想融合下的清空深情，這也正是柳詩最動人的特色。柳詩在儒家的脈絡下，入世的深情可以上承自屈原，呈現在對美德的堅持，也表現在對於家國的憂患和自身遭遇的哀憐上，柳詩中具有濃厚的家國傷感和鄉愁意識，興發自身的不得已。而在佛教、道家的脈絡下，則展現幽深清遠的審美情趣。二種情感交融在柳詩中，柳宗元雖努力以佛老轉化內在，但是儒家重視建立符號系統，在規範形式中找到自我的自覺，柳宗元一生政績也是在於打造一個秩序倫理的社會，所以他參與革新，貶謫後也積極投入地方政策。但是道家和佛教的精神思維，在於解構人的秩序世界，柳宗元積極以政途建構一個有倫理的社會，並不能真正解構自己想追求的秩序世界，卻在這樣的創傷與轉化拉拔之下，奠定自己的詩歌風格與不可取代的特色，寫下唐代詩歌美好獨特的一頁。

關鍵字

柳宗元；詩歌；佛教；儒家；道家

並列摘要

This article takes Liu Zongyuan's poem as the main axis of research and pays attention to the two main lines of Liu Shizhong. One is to express the feeling of "lonely solitude" through the landscape, and the other is to "dark and deep taste"; and try to combine the poet's Confucianism, Buddhism and Taoism to discuss these two The main line of poetry is to explore the relationship between the internal trauma of Liu Zongyuan and the transformation of Buddhism and Taoism, and to discuss the connection between thought and psychology, and how to influence the relationship between poetry expression techniques and emotions. The first chapter is the research motivation of this paper. It mainly shows that the motivation for the study of the text lies in the following three points. The first is to think about the trauma caused by the loss of the economy and the people, and the influence on the sad style of poetry. It is one of the research motives of this paper. It is hoped that in the perspective of psychoanalysis, how the trauma and idealization affect its poetic style is also the second part of the research motivation. The third is based on the perspective of religious thought, traumatic psychology and religious aesthetics. It discusses the poetry style of Buddhism with the beauty of Buddhism and the characteristics of Liu Shi's "light and deep". In addition to explaining the research motives, it also lists the literature review related to Liu Zongyuan's life history, ideological research, and poetry research. The discussion that he wants to carry out is in the style of his poetry, the Confucian feelings and the old Buddha. The poetry aesthetics is discussed in the realm of history and poetry. From the perspective of psychology and ideological aesthetics, it analyzes the two kinds of pulls of Liu's poem emotional mourning and the lightness of the realm, and discusses the poetic beauty of the psychological transformation and the painful. The second chapter discusses Liu Zongyuan's Confucianism, Buddhism and Taoism, and Liu Zongyuan's Confucianism and Taoism, with moderation as its core. The "Greater Way" is to seek " Suitability ", that is, reasonable and appropriate. As for Liu Zongyuan’s Buddhist thoughts, he is also based on the middle, and it is connected to the Tiantai, Zen, and Pure Land sects, and although it absorbs Zen thoughts, it criticizes the bad atmosphere of madness; and the thick Taoist thoughts are manifested in the natural view of heaven and man. There are also travel notes and poems in the leisure. On the whole, Liu Zongyuan’s Confucianism, Buddhism and Taoism thoughts are based on Confucianism. The Buddhist and Taoist thoughts he absorbed are all under the premise of being able to help the world, and he has achieved a common integration with Confucianism. It not only has cultural inclusiveness, but also has the meaning of actively saving the world and loving the people. Under the influence of Confucian culture, Liu Zongyuan used Confucianism to "cultivate himself and protect himself" and "inner and outside king" as his life. Therefore, he is based on self-cultivation and constantly pursues good and good morality. This article attempts to combine card. Holly's theory of self-idealization discusses Liu's poem, Liu Shizhong has the characteristics of self-idealization. The subject matter includes the beautiful animal self-conditions, the pursuit of sages, the beautification of plants, etc., which project the beauty of their moral talents, but such good internals are not available to the world. It is understood that Liu Shi's works depicting beautiful things often reveal pity that is not appreciated, just like the poet's talents and virtues can't play. However, even if the Confucianism has a good internal essence, it is based on self-cultivation, but it cannot be used to excel people and achieve the cause of the outside king. The goal of respecting the self-cultivation will be defeated, and the root value of the original moral cultivation will be suspected. In short, if Wang can't accomplish anything, he will doubt the meaning of self-cultivation. The loneliness and anxiety in Liu Zongyuan's poetry lies in the relationship between him and the human relationship and the external social environment. The loss of the relationship between human beings and the distant movement of the space makes it impossible for the children to contribute to the society and not to achieve great self. The ideal was disappointing. Even as the idea of Confucianism is rooted in the heart, he has not been reused, forming the emotion of the loneliness. However, in addition to Confucianism, Liu Zongyuan's thoughts are also integrated with Buddhism and Taoism. Both Buddhism and Taoism have the ontological roots of all things, and the common grounds of both work are introspection and attention to return to the heart. Intrinsic transformation, this kind of self-examination is presented in poetry and will show a simple and simple beauty. Liu Zongyuan absorbed the thoughts of Buddhism and Taoism, and his works in Liu Shizhong's light and leisurely works are mainly around the Buddhist scriptures, tea Zen, and natural landscapes. These poems show the pure and elegant beauty of Buddhism and Taoism. The author discusses these works of Buddhism and Taoism through two aspects: the relationship between the material and my relationship and the layout of the landscape. The poet is free to coexist harmoniously with the foreign objects, and there is no longer a gap between the landscape and others, so that the true self can be presented. Beyond freedom. As for the spatial layout of the landscape, the composition of Liu's poem space is quiet, the scene is full of fun, and the movement is quiet and integrated. The picture is dominated by quiet and simple color images, and the layout is more adept at creating images and characters in the air. The unity of the present, in the layout of the air and the integration, highlights the poet's indifferent state of mind. Therefore, Liu Zongyuan’s poetry is not entirely lamenting the sorrowful style. The works involving Buddhism and Taoism have more sincere inner beauty. After the poet’s sorrow, he intends to sorrow through the Buddha and the old thoughts. The performance is quiet and beautiful. This article concludes that Liu's poem has two lines. One is that the light and leisure is a realm of transcendence, which is based on Liu Zongyuan's thoughts of Buddhism; the second is the deep feelings and sorrows of Liu's poem attachment, and the deep feelings of sorrow are based on intellectuals. Confucianism is deeply loved. The seemingly contradictory styles of the two, but they can be integrated into the combination of Liu Shizhong and Confucianism, Buddhism and Taoism, so that Liu Zongyuan’s poetry blends the deep feelings of the quiet silence of the birth, even with a hint of melancholy. However, it is not so strong and direct. Instead, it is the struggle and transformation between the transcendence and the dilemma, which makes Liu Shi a faint mourning. Therefore, the emptying of deep feelings under the fusion of Confucianism, Buddhism and Taoism is the most touching feature of Liu's poem. Liu's poem in the context of Confucianism, the deep feelings of joining the world can be inherited from Qu Yuan, presented in the persistence of virtue, but also in the grief for the home country and the pity of their own encounters, Liu Shizhong has a strong sense of home and sentiment, stimulating own last resort. In the context of Buddhism and Taoism, it shows the aesthetic taste of deep and clear. The two kinds of emotions are blended in Liu Shizhong. Although Liu Zongyuan tried to transform the old with Buddhism, Confucianism attaches importance to the establishment of the symbolic system and finds self-consciousness in the normative form. Liu Zongyuan’s life performance is also to build a society of order ethics, so he participates in innovation, and then he Also actively invest in local policies. However, the spiritual thinking of Taoism and Buddhism lies in deconstructing the order world of the people. Liu Zongyuan actively constructs an ethical society by political means, and cannot truly deconstruct the order world he wants to pursue, but under such trauma and transformation, Lay your own style of poetry and irreplaceable features, and write a beautiful and unique page of Tang Dynasty poetry.