越南詩人阮勸對陶淵明的接受之研究

陶淵明是中國東晉末年非常有名的詩人，他被稱為「隱逸詩人之宗」以及「田園詩派宗師」。越南十九世紀末也有一位詩人被越南學者稱為「越南田園詩人」，他名稱為阮勸(Nguyễn Khuyến)。越南國家屬於漢文化圈，深受中國文化的影響，十九世紀之前，越南人常使用漢字作為自己的文字。因此，越南文化和思想深受中國的影響，文學是一個典型的例子。陶淵明與阮勸雖然隔離一千多年的歷史，生活在不同的國家，但是阮勸思想與詩歌內容明顯地受到陶淵明的影響。筆者將通過書寫這篇論文想探討阮勸如何對陶淵明的思想、詩歌內容以及詩歌風格的的接受。本論文共六章：第一章〈緒論〉論述研究動機與目的，研究方法；第二章：〈阮勸對陶淵明接受之因素〉分為兩個部份「陶淵明與阮勸生活之時代背景」和「陶淵明與阮勸之生平」，探討陶淵明與阮勸所生活之時代背景及其生平。第三章：〈阮勸對陶淵明思想的接受〉也分為兩個部份即「阮勸認同陶淵明的品德與人格精神」與「阮勸接受陶淵明的隱逸情趣」,針對阮勸對陶淵明人品的認同以及他如何接受陶淵明的隱逸情趣。第四章：〈阮勸對陶淵明的情真之接受〉，從兩位詩人的詩歌內容分為兩個部份：「對自然的熱愛與親和」與「對親人真摰的情感」。通過兩位詩人所寫的田園詩和寫給親人的詩歌來討論陶淵明與阮勸詩歌內容中所表現出之真情。第五章〈阮勸對陶淵明藝術風格的接受〉從兩位詩人的詩歌藝術風格來論述阮勸對陶淵明詩歌藝術風格的接受。最後是第六章：〈結論〉即歸納前五章所寫的內容與研究心得及不足之處。

關鍵字

陶淵明；阮勸；東晉末年；越南；接受；十九世紀末

並列摘要

Tao Yuanming was one of the most influential poets in late Eastern Jin Dynasty, well known as The Master of “hermit poems” and “pastoral poems”. In late 19th century, “pastoral poems” flourished in Vietnam, and Nguyễn Khuyến was Vietnam most famous “pastoral poet”. Before 19th century, Vietnamese cultures as well as their literature, was deeply influence by Chinese culture and literature. Therefore, although Nguyễn Khuyến lived in the different time and space from Tao Yuanming, but his thought and poetry has been influenced by Tao Yuanming. The main purpose of this research is to analyze Nguyễn Khuyến’s acceptance towards Tao Yuanming thoughts, poetry contents and styles. This thesis consists of 6 chapters. First chapter will discuss about the research purpose and the methodology. Second chapter, will analyze the factors of the acceptance, and thereupon in this chapter will be divided into two parts: first, the social background of Tao Yuanming and Nguyễn Khuyến; second, the life of Tao Yuanming and Nguyễn Khuyến. Third chapter, will discuss about the ideology of the acceptance, this chapter will also be divided into two parts: first, the approval of Tao Yuanming personality and moral character; second, the acceptance of Tao Yuanming’s hermit interest. Fourth chapter will analyze Tao’s and Nguyễn’s poetry content. Fifth chapter will discuss about the acceptance towards Tao’s poetry styles. Last, sixth chapter will be the conclusion of the whole chapters.