極目傷神－杜詩視覺意象的形構與儒家心性論的崩解

Regards without Reflection: The Formation of Visible Image in the Poems of Tu Fu and the Breakdown of Confucian Mind

林美清(Mei-Ching Lin)

《玄奘人文學報》 3期 (2004/07) Pp. 129-167

https://doi.org/10.29956/HCHJ.200407.0004

摘要

本文將依據杜甫一生中幾首以「望」為題的詩，建構杜詩中「望」的概念內涵，並探索詩人的世界觀。凡以「望」為題的作品，我們可以預期詩篇中必定表述詩人的通觀(perspective)。如果詩人是「透過生命的通觀觀照藝術」，那麼杜甫所觀者，不只是自然萬象，而是人生當下生存境遇的通觀。
所謂通觀當下的人生境遇，並不黏滯於生命的計量與刻度，而是揭露杜甫對生命感悟的通觀。杜甫的世界觀與其生命的感悟息息相關，當詩人生命的終極理想失據，人生墮入茫然無所歸的絕境。
通觀詩人寓「望」之詩，縱貫杜甫的生涯，透過杜甫深情凝望的懷抱，我們可以重構詩人的世界觀。世界觀不僅是客觀環境的表述，更是人生境界的構想。我們先標定其世界觀裡的幾個參考點，環繞每一參考點形構一區詩人的生活視域，組合詩人各區生活視域，即可完成重構杜甫世界觀的工作。
杜甫一生志在「致堯舜上，再使風俗淳」，詩人生涯原點的失落，使詩人生命的歸宿不可歸，讓詩人生命的動能無可挽回。從早年〈望嶽〉詩所展現的曠觀與恢宏，到詩人遲暮「極目傷神」的野望，昔日的宏偉世界觀，已日見與他的生命錄離，喪失希望的人生，只剩下不畫的自傷自憐，視線只拘限於環迴此身的瑣碎思念與愛戀，望不出高明博厚的世界觀，詩人的關懷完全退縮到向的衰老傷感之中。隨著詩人世界觀軸心的扭曲與潰散，生命內省的強度也逐漸崩解。
從位格化到物化，標示著詩歌創作境界的升沉，而詩人變換的世界觀，其實正是其世界觀軸心的扭曲與潰散，而此一軸心的扭曲與潰散，正顯示了「詩聖」內在對儒家心性論的崩解。

關鍵字

望 ； 目視 ； 視覺意象 ； 世界觀 ； 杜詩 ； 心性論

並列摘要

This paper studies Tu Fu's poems that are thematically related to the motion of ”望(wang)”-which means ”to regard” in English. By analyzing the meanings of ”望(wang)”-to regard, the paper intends to explore Tu Fu's Weltanschauung. It considers that ”望(wang)” reveals the poet's perspectives, not only on outward phenomena, but also on inward pheno mena, that is, how the poet conceptualizes his own life. Thus, the various ideas of ”望(wang)”-to regard shown by his poems reflect the different aspects of Weltanschauung in the various stages of the poet's life. By correlating his poems with his life, the paper aims to recreate a comprehensive picture depicting the change of Tu Fu's Weltanschauung.
Throughout his life, Tu Fu desired to make the country better than what it used to bew hen the ancient saintly kings, Yao (堯) and Shun (舜) ruled. He also wished that his countrymen could have high moral values. However, his desires were never fulfilled and hisfrustrat ion was vented on his poems. One of his earlier poems, ”望嶽(Looking at the Mountain Ta)”, demonstrates grandeur and broad-mindedness. In his later poems, this grandeur diminishes, and he manifests a sense of self-pity for his aging body.
From a philosophical perspective, this paper reviews interpretation of related passages in the Confucian theory of heart/mind. Furthermore, this paper traces the source of the formati on of visible image in the poems of Tu Fu by pointing out the concept of ”望(wang)”-toregard an ontological concept. In the poems of Tu Fu, the concept of ”望(wang)”, which means the formation of visible image is the most important constitutive categories of the poetics systems. The term ”望(wang)”-to regard is not only a motion of sensibility Rather, the whole knowledge should based on the rule of ”望(wang)”-to regard But in Tu Fu's poems, he gave ”望(wang)” a new meaning as the origin of the universe. He described a developing process of the universe and the Weltanschauung.
From metaphysical conceptualizations to a strong concern for one's own imminent physical existence, the change of the term ”to regard” in Tu Fu's poems reflects the change of his own perspectives His final entrapment in thephysicality of existence signifies the ultimate breakdown of his belief the Confucian theory of heart/mind.

並列關鍵字

to regard ； image ； Weltanschauung ； Tu Fu ； Confucia