唐前詩歌中「抒情空間」形成之研究──從空間書寫到抒情空間

A Study of the Formation of "Lyric Space" in pre-Tang Poetry: From the Writing of Space to Lyric Space

許銘全(Ming-chuan Hsu)

指導教授 ： 方瑜

國立臺灣大學/文學院/中國文學研究所/博士(2010年)

https://doi.org/10.6342/NTU.2010.03335

摘要

本論文主要是由空間角度切入，探析唐前詩歌之空間書寫，從一種未進入書寫焦點、少涉情意呈示的場所背景，直到「抒情空間」逐步形成的變化過程。同時，藉由析論、重述此一階段之詩歌與相關觀念之變化發展，嘗試對「抒情傳統」與「抒情詩理論」進行對話與反思。

　　.「言志」與「緣情」可說是早期最重要的詩論綱領，然而，從早期「言志」「緣情」這種只規範主體內在情意表出的論述，到最後轉到「情景交融」的變化過程中，空間書寫的前景化與抒情化成為文人重要的關懷論述焦點，其間的變化與形成，實是整個抒情傳統相當關鍵的轉折。換言之，抒情傳統中抒情空間的形成，其實正反映了中國古典詩歌抒情詩理論重視空間的面向。

　　本文緒論分別對「抒情傳統」與西方「抒情詩理論」做一簡要陳述與檢討，並對所謂「抒情空間」做一扼要界義。第二、第三章除了對早期詩論（言志與緣情）做一探析，並整理分析詩騷到早期五言詩（以古詩十九首、阮籍詠懷、郭璞遊仙為例）的空間表現。質言之，此一階段無論在詩歌觀念或作品中，空間尚非其論述與創作的焦點所在。第四章一方面以「巧構形似」詩論與謝靈運、謝朓詩為討論重點，以勾勒出此一階段詩歌文本與觀念轉向空間、逐步形成抒情空間的變化及其成因，另方面分析陶淵明在日常空間書寫選擇上的特殊性。第五章則在前文所得基礎上，對「抒情空間」的形成與理論意涵，嘗試做一理論性的陳述與架構。

關鍵字

抒情傳統 ； 抒情空間 ； 巧構形似 ； 謝靈運 ； 謝朓 ； 陶淵明 ； 空間

並列摘要

Based on the perspective of space, this essay examines the writing of space in pre-Tang poetry in which the gradual formation of "lyric space" evolves from the unemphatic writing of space as a mere background with little emotional presentation. Meanwhile, by analyzing and revisiting the development of pre-Tang poetry and notions concerned, this essay endeavors to negotiate with and reflect upon the Chinese lyric tradition and the western theory of lyric poetry.

　　Early theory of poetry is thematic of "yan zhi" (言志) and "yuan qing" (緣情). However, from the embryo discourse which only involves the presentation of the subject's inner emotions like "yan zhi" and "yuan qing" to the transformation into "qing-jing jiao-rong" (情景交融) at last, the foregrounding and lyricizing in the writing of space becomes the theoretical concern of Chinese literati, which serves as the turning point of lyric tradition. In other words, the formation of lyric space in the lyric tradition mirrors the very dimensions of space in the theory of classical Chinese lyric poetry.

　　The introduction of the present essay summarizes and scrutinizes Chinese lyric tradition and western lyric-poetics respectively. The so-called "lyric space" is outlined as well. The second and third chapters not only explore the early poetic theory but also review the presentation of space from the Shi Jing and Chu Ci to the early pentasyllabic poems. At this early stage, space had not entered the discoursive and creative focus yet, in terms of poetic ideas or works. The fourth chapter on the one hand probes the theory of "qiao-gou-xing-si"（巧構形似） and poems of Hsieh lin-yun and Hsieh Tiao in order to delineate factors behind the poetic and theoretic transition to space, which further leads to the formation of lyric space. On the other hand, it analyzes the particular choice of Tao Yuan-ming to write about space in everyday life. Premised on the above, the final chapter attempts to organize a theoretical account of the formation and significance of lyric space.

並列關鍵字

lyric tradition ； lyric space ； qiao-gou-xing-si（巧構形似） ； Hsieh lin-yun ； Hsieh Tiao ； Tao Yuan-ming ； space

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