白居易感傷詩研究

白居易在〈與元九書〉中提出了「感傷詩」的概念，並將其定義為「事物牽於外，情理動於內，隨感遇而形於嘆詠者」，可知，白居易的感傷詩與其說是傷感的詩，不如說是情感的詩。考察白居易的「事物情理說」中諸概念的關係，檢視白居易全部的感傷詩創作，可以認識到他的感傷之「情」雖然以表現悲情為主，卻是兼容並包的。於是，無論從哪個層面言，他的感傷詩都具有「泛感傷性」的。白居易感傷詩的創作實踐受到抒情傳統的巨大影響，特別是《楚辭》表現感傷的主題的影響。白居易表現傷春悲秋、黃昏意識、恨人意識等不同主題的感傷作品，繼承並發展了杜甫、劉長卿、江淹等前輩詩人所具有相應意識的感傷之作的改造。白居易詩的感傷本質，使得他的文集成為了一生感傷的回憶錄。由作詩和編集行為中體現出的高於眾人的時間意識，可以體會到他充滿感傷性的詩學創造意識。感傷情感的泛濫促使白居易通過不斷地復現詩歌題材和語言，將時間意識轉化爲時間層次。白居易主要以日記化和回憶這兩種方式來構築時間層次，書寫對中國抒情文學史、敘事文學史都具有重大意義的個人生活史。可以說，白居易的感傷詩是具有敘事文學特色的抒情文學。白居易的感傷詩創作同時又豐富了中國感傷文學傳統的藝術實踐；他的感傷文學意象語言是介於唐型詩學和宋型詩學之間的，同時表現出強烈的齊梁風格。舉例來說，白居易用以表現感傷情緒的明月來自於唐以前的詩歌傳統，但他與元稹以「朧月」表現感傷，表現出與以明月表現感傷迥異的女性氣質，他對明月強烈的佔有的慾望也與傳統以望月表現感傷的詩作不同；他豐富了斷腸的文學性，加強它與音樂的聯繫，又進一步弱化了它生理上的違和感，被後代文人廣泛接受，使得它成為表現感傷的固定詩語；至於詩語「衰荷」，在白詩中被分為三個相對獨立的表現感傷的系統：「荷衰」以及與其關係密切的「枯樹」系統、受齊梁詩風影響、凸顯強烈女性氣質的「芙蓉死」系統以及以私人記憶突出個人化風格的「白蓮枯」系統。這三個系統與感傷的關係有強有弱，它們共同促進了中唐以後的感傷文學對「枯」、「衰」、「死」意象的重視。

關鍵字

白居易；古典詩；感傷；時間

並列摘要

Bai Juyi put forward the concept of "sentimental poetry" in "the letter to Yuan Jiu", and defined it as "things are outside, emotions move inside, and feelings meet and form in the Aria". It can be seen that Bai Juyi's sentimental poetry is not so sentimental as emotional poetry. Bai Juyi's definition of sentimentality is closely related to the lyric tradition of Chinese classical poetics. By examining the relationship between the theory of "matters, things, emotions and reasons", we can realize that his sentimental "feeling" is inclusive, though it mainly expresses sadness. Therefore, the "emotion" of "sentimentality" is also expanded. No matter from which level, his sentimental poems are " expanded sentimental". The creation of Bai Juyi's sentimental poems is greatly influenced by the lyric tradition, especially the sentimental theme of Chuci. Bai Juyi's sentimental works with different themes, such as sad spring and sad autumn, dusk consciousness and hate consciousness, inherit and develop the transformation of the sentimental works of Du Fu, Liu Changqing, Jiang Yan and other predecessors. The sentimental and lyrical nature of Bai Juyi's poems determines that the anthology becomes his sentimental memoir. His sentimental consciousness of poetic creation can be realized by his time consciousness which is higher than that of others. The overflowing of sentimental emotion urges Bai Juyi to change the time consciousness into the time level by constantly repeating the theme and language of his poems. Bai Juyi mainly constructs the time hierarchy by diary and recollection, and writes the personal life history of great significance to the history of Chinese lyric literature and narrative literature. It can be said that Bai Juyi's sentimental poems are lyric literature with the characteristics of narrative literature. Bai Juyi's sentimental poetry not only enriches the traditional artistic practice of Chinese sentimental literature, but also displays a strong Qi Liang style. For example, the moon that Bai Juyi used to express his sentimental mood came from the poetic tradition before the Tang Dynasty, but he and Yuan Zhen expressed their sentimental feelings with "the dim moon", which showed their different feminine qualities. Their strong desire for possession of the moon was also different from the traditional poems that expressed their sentimental feelings with the moon. He enriched the literature of heartbreak, strengthened its connection with music, and It further weakened its physiological sense of disobedience, and was widely accepted by later generations of scholars, making it a fixed poetic expression of sentimentality. To the end, the poetic expression "Lotus decline" was divided into three relatively independent systems of sentimentality: "Lotus decline" and its closely related "withered tree" system, the "Lotus death" system influenced by the poetry style of Qi and Liang dynasties, and the "Lotus death" system highlighting a strong female temperament as well as the private one The memory highlights the personalized "dry lotus" system. The relationship between these three systems and sentimentality is strong or weak, which together promoted literature after the middle Tang Dynasty to attach importance to the images of "wither", "decline" and "death".