論元好問對蘇軾的接受與轉化

Research of Yuan Hao-Wen On Su Shi’s Acception and Transformation

蕭豐庭

指導教授 ： 蘇珊玉博士

國立高雄師範大學/文學院/國文學系/博士(2013年)

https://doi.org/10.6817/NKNU.2013.00003

摘要

金代的元好問與北宋的蘇軾，皆為當代經典作家，因兩人都有豐厚的創作實績，作品也一再引起不同世代的讀者、批評者，欣賞傳播與詮解評騭。元好問在文學史上具有傳承蘇軾美學的鮮明特點，早已在金元文人的詩話詞評中標誌而出
；甚至明清以來更是評論元好問接受蘇學的高峰時期。然而此一明顯的接受影響現象，時至今日仍未有學者論述元好問接受蘇軾詩、詞、文的深度與反思。
本論文旨在探究元好問坦白面對深受蘇軾這位經典大家影響時，展現出文人的自信與實際的自成一派，樹立元好問兼具創作與批評的特色。本論文透過接受影響的研究視野，以文獻分析、知人論世、平行比對、分析借鑒的多元方式，深入闡釋元好問接受蘇學的現象。本論文共分六章，內容簡述如下：
第一章「緒論」，敘述問題意識、文獻述評，闡釋研究向度、範圍與限制，以及研究的方式，所欲達到的研究目的。
第二章「元好問接受蘇軾文學觀的因緣」，從金元君主朝臣、學者文士接受蘇軾人格美與文藝美的氛圍下，以及元好問恰巧與蘇軾有相似的生命遭遇，相似的生活涵養。在這外緣內因的因素下，實為元好問接受蘇軾美學的立足點。
第三章「元好問、蘇軾文藝觀點的同與異」，兩人都對自身創作有一套完整理論，相同點在於兩人重視學識積累，並透過實際創作，將才識學問與藝術表能力純熟運用，才能從古人法度中自成一家。元好問不同於蘇軾，是對欣賞者有閱讀素養的要求、詩詞一理的實踐、對碑誌銘詩的內容擴充，以及反對金元文人次韻唱和而刻意逞奇鬥巧。
第四章「元好問詩、詞、文對蘇軾作品的取資與鎔裁」，全方面交叉比對元好問、蘇軾作品，一方面論證元好問接受蘇軾的深廣度；另一方面客觀呈現元好問受前人影響中，呈現百態變化的藝術風貌。
第五章「元好問接受蘇學的因革與開拓」，元好問與蘇軾皆有通變精神，從二人面對陶詩的審美接受，與個別不同的再創作，足證元好問企圖另闢蹊徑。
第六章「結論」，綜論以上各章節，元好問在繼承蘇軾美學的過程中，有自成一家的鮮明詩觀、豐厚詩境。
研究成果為蘇軾、元好問無庸置疑的是在北宋、金元各具特色的經典大家，而元好問作為承襲者的立場，在美學接受史上有著獨樹一幟的歷史定位。

關鍵字

元好問 ； 蘇軾 ； 接受 ； 通變

並列摘要

Hao-Wen Yuan of Jin Dynasty and Shi Su of Northern Song Dynasty were both classical scholars of their times. Because both had huge creations, their works are also repeatedly enjoyed, propagated, interpreted and evaluated by readers and critics of different generations. Hao-Wen Yuan in the literary history inherited Su Shi’s distinctive aesthetic characteristics and stood out among the literati in Jin and Yuan Dynasty, and the discussion concerning Yuan’s inheritance of Su’s style even peaked in the Ming and Qing period. However, though the influence of style was obvious, up to this date there is no scholar who has an in-depth discussion and reflection of how Hao-Wen Yuan inherited Shi Su’s poetry, verses and articles.
This paper aims to explore the scholarly confidence of Hao-Wen Yuan when frankly faced the influence of the classic scholar Shi Su, and the faction he established with the features of both creation and criticism. Though the study of the influence, the paper offers insight into the influence of Shi Su on Hao-Wen Yuan from the perspectives of literature analysis, understating the scholar and the time he was in, parallel comparison and analysis for reference. This paper is divided into six chapters, and the contents are summarized as follows:
Chapter one is "Introduction," which describes the problem consciousness, literature review, direction and dimension of research interpretation, scope and limitations, research method, and purpose to achieve.
Chapter two is "Circumstances under which Hao-Wen Yuan inherited the concept of Shi Su’s literature". Hao-Wen Yuan lived in an atmosphere of Jin and Yuan Dynasty when emperors, chancellors and scholars accepted the beauty of Shi Su’s personality and literature, and he happened to have a similar life experience and life style with Shi Su. Such external and internal factors became the starting point for Hao-Wen Yuan’s inheritance of Shi Su’s aesthetics.
Chapter three is "Similarity and difference between Hao-Wen Yuan’s and Shi Su’s literary point of view". Both of them had a complete set of theories for their literary creation, and the similarity is that both attached importance to the accumulation of knowledge, and through their actual creation they perfected the skillful maneuver of knowledge and artistic ability and distinguished themselves from the past. Hao-Wen Yuan was different from Shi Su in that his work requires a certain literacy level of the readers, his practice of the theory of unity of poetry and verses, his expansion of the contents of epitaph poems, as well as his opposition to poets of Jin and Yuan Dynasty who rhymed songs to deliberately boast their distinctions and skills.
Chapter four is "Hao-Wen Yuan’s access to and fusion of Shi Su’s poetry, verses and articles”. On one hand we explore the breadth and depth of Hao-Wen Yuan’s inheritance of Shi Su’s work, and on the other hand we objectively present the influence of Hao-Wen Yuan’s predecessors on him which resulted in a varying artistic style.
Chapter five is "Reason for and exploration of Hao-Wen Yuan’s inheritance of Shi Su’s work". Both Hao-Wen Yuan and Shi Su had the spirit of flexible adaptability to varying situation, and from their acceptance of the aesthetics of Tao’s poetry to their respective re-creation, we can confirm that Hao-Wen Yuan attempted to take a different approach.
Chapter six is "Conclusions" which summarizes the chapters above. In his inheritance of Shi Su’s aesthetics, Hao-Wen Yuan created his distinctive poetry style with rich poetic conception.
The research result is that Shi Su and Hao-Wen Yuan were undeniably classic scholars with their own distinctions in Northern Song and Jin Dynasty, and Hao-Wen Yuan as an inheritor has a unique position in the aesthetic reception history.

並列關鍵字

Hao-Wen Yuan ； Shi Su ； acception ； tongbian (Flexible adaptability to varying situation)

參考文獻

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《文學的哲思》 曾昭旭，臺北：漢光文化事業股份有限公司，1986

〈惻隱、自由與慈悲：元好問哲思探幽〉 王煜，《哲學與文化》第19卷第

〈出門一笑大江橫——元好問論詩三十首的文學解讀：以羅曼?英加登的理論為中心的探討〉 周益忠，《彰化師大國文學誌》第21期，2010

〈記憶編織與國家印記：《遺山樂府》之身世書寫〉 李德偉，《東海中文學