魏晉南北朝離別詩之研究

綜觀古今，每個人的一生中，都必然會經歷生離或死別，既有別，必生怨，有了哀怨，便會有宣洩的渴望，而對文人來說，文字便是最好的載體，故自《詩經•燕燕》始，詩人便再三詠嘆分離的悲哀以及別後的相思，可以說離別是中國文學裡一個極為重要的主題。然而離別雖在每個人的生命中不停上演，但於烽火連天的魏晉南北朝，更是一種生命常態。這個時代普遍重情，而情的興發又常肇因於離別的情境，詩人面對離別，往往有著更深入的思考。加之此時前承先秦兩漢，下開唐代，處於承上啟下的中介位置，故筆者擇此特殊時期進行研究，期望建構魏晉南北朝離別詩的書寫樣貌，並探析其傳承演變。　　從三曹父子及建安文學集團手裡興盛起來的贈答詩、西晉時幾乎囊括整個詩壇的祖餞詩、南朝時大盛的山水、遊覽、行旅等詩，只要有離別的事件發生，而詩人針對此事抒發情懷，或因此有所感發者，便為本文所謂的離別詩。若細分之，東漢離別詩原始素樸，詩人在離別的當下援筆寫作，故多圍繞離別這一個核心事件開展；魏晉以後，詩人或將離別視為引子，重新審視自己的生命境遇，吟詠其人生體悟，離別詩於是流動著詩人個己的情志思想。　　在研究進路上，本文首先以身分及類型為準則，將離別歸為四類：第一種類型是自《詩經》即流傳下來的傳統，朝廷主辦盛大宴會，以餞別即將離去的大臣。惟魏晉南北朝以後，執筆者不再專屬於個人，而是群臣共賦並詠，離別詩也在這些文學侍從的筆下，有了固定的寫作脈絡：首章頌美皇室，而後稱揚離人，最末則摘取片段離情。第二種類型為與友人分別，兩漢離友詩的特徵在於詩人全心投入離別情境中，抒發分離之際的愁緒，至魏晉以後，則兼有四言典麗及五言抒情之作，分別演繹禮儀規範與情感表述的兩個面向。第三類是離別家國者，家與國是詩人心中永恆的「地方」，他們背負著故鄉的風土印記，在異地格格不入，於是從望鄉到望歸，成了他們不斷吟詠的主題。最後一類是與良人分別的思婦文本，其於魏晉以前還被允許有不一樣的演出，但此後在內涵及書寫範式上走向模式化。透過直接言說與工作成效不彰兩點，表現思婦在漫長等待裡的苦悶與思念，並在時光的流逝中恐懼，容貌衰老將換來見棄的下場。　　自東漢《古詩十九首》始，詩人書寫的一直都是離別的即將到來，因為當下性的逼視，詩人的情感逐漸堆高，終至噴湧而出。魏晉南北朝延續這樣的興情方式，又發展出別後追懷的一面，通過回憶—興情的連結，詩人陷溺於煥然一新的美好記憶中無法自拔。而魏晉南北朝離別家國者，總將故鄉與異地放在同一個天平上較量，劃出「我鄉」的疆域，並經由種種對異鄉異俗的描述，展現詩人對異地的不適及不認同之感。時間會使人的閱歷更加成熟，從而改變觀看事情的角度。思婦尤其如此，她們站在時間軸的最末端，與過去的自己對話，了悟或許等不到良人回頭。　　自屈原始，便傳達了對時光前行不待的焦慮，而空間的阻隔亦是離別的傷痛之源。魏晉以前的離別詩，常以天上星辰或地上疆界突出地理的遙遠，然而除此之外，我們會發現其餘背景的模糊，諸如離別的人、事、時、地，及周圍所見景物等，皆付之闕如。因彼時離別詩的重點在於傾訴別情，而不將離別空間視作首要的描寫對象；而至魏晉南北朝，詩人承續前時復有新創，除以座落在兩個端點的城市拉開距離外，又經由一個個地名串聯起詩人的足跡，使該處具有「地方」的意義，日後憶起將連帶喚起該次離別的記憶，又因此建構出清晰可見的離別空間。先秦兩漢詩中的景物，是為了營造充滿情感的氣氛場，但南朝以後，因對摹山範水的興趣及喜愛，除延續前時對氣氛空間的書寫外，另一方面刻寫景物越發細緻入微，空間框架於是日益清楚。再加上離別身分和事由的展現，離別從此成為一次性的事件。　　而兩漢離別詩之所以讀之皆若傷我心，是因詩歌沒有交代具體背景，朦朧的情境中，最被突顯的是沉痛的離情，故有著同情共感的效果，因而歷代詩人皆發展出以願望與夢境突破時、空限制的應對方式，安頓滿溢的離情，他們發願能夠生出羽翼、憑藉歸風跨越千里，又託浮雲以傳遞音訊；夜夢沾枕之時，也盼望能在夢境中歸返故鄉。然魏晉南北朝以後，離別詩成為詩人的專屬品，詩人藉之呈顯自己，其內涵大多為入朝為官與入山隱逸的辯證。正因離別詩的寄贈對象通常為詩人的知己或友人，故除吐露別後相思外，詩人也自然而然的傾訴當前思考的問題及困境。進一步來說，詩人通過詩作向受詩對象以及未來的讀者表現自己，其實正反映他們期盼被傾聽、渴望有知音賞解，而離別詩也因此成為詩人情志的載體，散發著詩人獨特的個人光彩。

關鍵字

離別詩；魏晉南北朝；時間；空間；情感

並列摘要

Throughout the history, people all face the experience of parting or bereavement. Now that people encounter the farewells, they must sink under deep grief and be eager to pour out the emotions afterward. When it comes to the poets, Chinese character is the best tool to express their emotions. In this manner, starting from the Yan Yan poem in The Book of Songs (《詩經•燕燕》), poets convey the sadness of parting and the longing after partings again and again. We can say that farewell is one of the most significant topics in Chinese literature. Although farewells happen frequently to every Chinese in every dynasties, the experience of parting has become an apparent phenomenon in Wei, Jin, Southern and Northern Dynasties(魏晉南北朝) owning to the numerous battles. In this era, the literati pose great importance on sentiments, which are usually triggered by farewell conditions. Facing these situations, poets often get into deep thoughts. Besides, this era follows Pre-Oin (先秦),Han Dynasties(兩漢), and opens up the golden age of Tang Dynasty(唐朝), performing as a medium between them. Therefore, this thesis aims to study the writing pattern of farewell poems in Wei, Jin, Southern and Northern Dynasties and discusses their development. 　　The dedication and reply poems (贈答詩) developed by Cao Cao(曹操),Cao Pi(曹丕),Cao Zhi(曹植)and the literary organization of Jian-an Age(建安文學集團), poems of farewll banquets(祖餞詩) in Western Jin dynasty(西晉), landscape poems(山水詩), tour Poems(遊覽詩), and roaming poems(行旅詩) in the Southern Dynasties(南朝) are all considered farewell poems. Once the poet expresses the sentiments of separation in the work, the poem is considered as farewell pomes(離別詩). To be more precisely, poets in the Eastern Han Dynasty(東漢) are relatively simple, they only write about the farewells. Later in Wei, Jin, Southern and Northern Dynasties period, farewell pomes not only contains the feeling of separation, but also poets’ thoughts toward life. 　　About the research methods, this thesis classifies farewell poems into four categories according to the identities and types. The first one is the traditional custom passing down from The Book of Songs, referring to the government feast the farewell parties for those retired officials. After Wei, Jin, Southern and Northern Dynasties, this type of farewell pomes are made of all officials to appreciate the royals and the retired colleagues; lastly, the poems will contain some sentiments of separation. The second one is farewells with friends. In Han Dynasties, the characters of these poets are full farewell sentiments. However, since Wei, Jin(魏晉), the poets use four-characters (四言詩) and five-characters poems(五言詩) to represent rites and affections respectively. The third one is the people who must leave their countries. Homelands and countries are forever the distinctive place(地方) to the poets. Homesickness becomes the constant topic of poets. The last one is the Yearning women(思婦) who separate from their husbands. There are different representations before Wei, Jin, but the farewell poems’ context gradually becomes the same mode. Poets express yearning women’s fear of being abandoned due to their senility and ugliness. 　　Since the Nineteen Old Poems(《古詩十九首》)in Eastern Han Dynasty, most poems focus on that the fore-coming of separation. Their affection accumulates gradually, and reaches the upper limit at the time of separation. In addition to this style, Wei, Jin, Southern and Northern Dynasties creates a new manner: the poets immerse in the new and good memory via recalling past memory after separation. As for home-leaving poems, poetry of homesickness in Wei, Jin, Southern and Northern Dynasties, poets compare homeland with foreign land, and then define an area as their homeland. Poets indicate their unaccustomed to foreign land by describing different customs of foreign land. The passing of time makes people more mature, especially the yearning women. They talk to the past and finally know that their husbands would never come back. 　　Since Qu-Yuan(屈原), poets are anxious about the passing of time, and long distance is another reason of depression. The farewell pomes before Wei, Jin often use stars and borders to represent long distance. Besides, we will find that there are no clear descriptions about other details, such as people, time, or site. Because their focus is the affection of leave, not space. Until Wei, Jin, Southern and Northern Dynasties, poets create new methods: using the geographical names to make the distance clear and represent the path they walk along. When they recall of the geographical names, they also evoke the feeling of farewells. The scenery in poetry of Pre-Oin and Han Dynasties are used for atmosphere. Nevertheless, the location after Southern Dynasties is more clear because poets are more fond of describing the natural scenery. In addition, poets represent the identities, and explain why farewells happen. Consequently, every farewells become unique. 　　Reading farewell pomes of Han Dynasties breaks our heart is because that the poetry did not indicate a clear background. The most obvious sensation in a vague condition is the sentiments. Because poets have similar affection, they all use hope and dream to express their overload sentiments. They eager to have wings to fly across the sky via wind and send massage via clouds. They also want to come back home in the dream when they sleep. However, farewell pomes became the exclusive right of poets since Wei, Jin, Southern and Northern Dynasties. Poets emphasize themselves via farewell poems. According to the contents, most of them are the choices between being government official or retired. Because the farewell pomes are usually made for the poets’ friends, the poets would express their thoughts and difficulties other than yearning. Moreover, poets present themselves to their friends and future readers via poetry. It reflects the inclination that they want to be heard and understood. As a result, farewell pomes become the specific expression of the poet’s affections.