屈大均及其山水詩研究

On Qu Dajun and His Landscape Poetry

吳庚雲(KENG-YUN WU)

指導教授 ： 卓清芬

國立中央大學/文學院/中國文學系碩士在職專班/碩士(2012年)

摘要

清代詩歌有其時代的風貌與特色，其中清初山水詩尤其能體現動蕩時代的情感思想及審美意識，確實有研究的價值。近年來學者已對清代山水詩多有研究，並有了可觀的研究成果，不過多集中在對少數大家的研究，實際上仍有其他詩人值得投入與開展，例如本論文作為研究主題的屈大均是清初頗具特色的山水詩詩人，享譽詩壇，被推為「嶺南三大家」之首。故筆者於此議題上拋磚引玉，以屈大均及其山水詩作為研究主題。
本論文主要分為兩大方面展開，第一部分為以屈大均其人作為主要研究議題：第二章論述屈大均的生平，由其家世經歷、交遊、著述等，以了解其忠貞思想及高潔人格。第三章探討屈大均文學創作之背景，分別從時代、遺民身分、地域文化、屈大均之文學觀及其師法對象，以了解其詩歌創作之特色。
第二部分以屈大均山水詩作為主要研究議題：第四章論述屈大均山水詩之承繼，由歷代山水詩之特色及清初遺民山水詩特有的風貌，以見屈大均山水詩之承繼。第五章分析屈大均山水詩之內容，將詩人之經歷、情志與遊覽地域相照應聯繫，以探索其山水詩豐富深沉的內蘊。第六章分析屈大均山水詩之藝術特色，由創作技巧、意象表達、詩作風格三方面論述，以更具體且深刻地認識其山水詩靈活多變的藝術手法，浪漫色彩濃厚是其詩最突出的特色。第七章綜論屈大均詩作的評價與地位，屈大均之山水詩成就堪為一代之才，不僅繼承傳統，亦有所開展，影響後來山水詩之創作。在詩壇的地位上，屈大均不僅是嶺南三大家之首，在清初詩壇也能獨樹一格，在清初遺民詩人中是可與顧炎武、吳嘉紀鼎足而立的。

關鍵字

山水詩 ； 清初遺民 ； 屈大均 ； 嶺南詩人

並列摘要

The poetry of Qing Dynasty has its style and features in time. The landscape poetry of early Qing, in particular, was able to embody the emotional thinking and aesthetic sense of the age of turmoil, and deserves research. There has been research in the landscape poetry of Qing Dynasty with considerable amount of findings; yet most of the efforts have focused on a small number of major poets and left others, who are worth dedicating oneself to and uncovering, untouched. And example is Qu Dajun, the subject of research of this paper, who was a distinctive poet of landscape poetry in early Qing. Well known in the circle of poetry, Qu was recognized as the leader of the “Main three in Ling-nan”. This is what the author bases on to set a research theme of Qu Dajun and his landscape poetry.
This paper unfolds in two directions, the first focuses on Qu the person: Chapter Two depicts Qu’s life, in an attempt to understand his thinking of loyalty and noble character from his family background, association with people and writing. Chapter Three explores the background for Qu’s literature creation, trying to understand the features of his poem writing from his era, being a survivor of the previous dynasty, the local cultural, his literary perspective and of whom he followed in creation.
The second focuses on Qu’s landscape poetry: Chapter Four discourses Qu’s inheritance to landscape poetry, illustrated by the characteristics of landscape poetry of the previous periods and what was unique to that of the early Qing. Chapter Five analyzes the contents of his landscape poetry, probing its deep and profound filling by comparing his experiences, devotion and the places he had traveled. Chapter Six analyzes the artistic features of his landscape poetry, discussing in the dimensions of creating skills, ideological expression and style to understand his flexible artistic skills of landscape poetry more specifically and in depth, and that the intense romantic color is the most outstanding feature of his poetry. Chapter Seven generalizes the evaluation, including the importance, of Qu’s poetry; his achievement in landscape poetry was literally brilliant, with which Qu both carried on the tradition and made development enough to affect the subsequent creation of landscape poetry. In terms of importance in the field of poetry, Qu was not only the leader of the Main three in Ling-nan, but also made a distinct existence among poets of the early Qing, occupying a place equally significant as those of Gu Yan-Wu and Wu Chia-Chi.

並列關鍵字

Qu Dajun ； survivors in early Qing ； poets of Ling-nan ； landscape poetry

參考文獻

李宗桂，〈中國文化名人與澳門—湯顯祖、吳漁山、屈大均合論〉，《鵝湖》358， 民94年4月，頁50-55。

李宗桂，〈中國文化名人與澳門—湯顯祖、吳漁山、屈大均合論〉，《鵝湖》359，

陳國棟：〈哭廟與焚儒服——明末清初生員層的社會性動作〉，《新史學》第3卷第1期（1992年3月），頁69-94。

黃雅歆，〈清初遺人詩人吳嘉紀的山水詩〉，《中國文哲研究通訊》，民92年9月，頁49-64。

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