李白擬古詩研究
Date Issued
2002-07-31
Date
2002-07-31
Author(s)
蕭麗華
DOI
902411H002027
Abstract
Li Po was a brilliant poet whose gusto was both rich and versatile. However, few of his
writing about the poetic theory remained,, nor did any particular treatise on this topic. In this
regard, different recognition between his “restoration” and “creation” had been made by future
generation.
The comprehension of whether Li Po held the idea of “restoration” varied in the
academic field. Some believed that although Li Po declared “to revive tradition” and kept the
critical attitude toward the poems from Chien An Period on, his creation praxis started a new
style of Tan Dynasty (An Chi). Some emphasized that in Li Po’s nineteen poems of “Ku
Feng” , his intention was to “criticize the politics by means of literature”, not to advocate the
revival of literary tradition (Yu Ping Bo ). While, others deemed that none, through the end of
Tan Dynasty, thought Li Poin favor of “restoration” in the scope of poems (Lo chung Tao).
All these prove that the idea and praxis of Li Po’s “restoration” indeed have brought on
different recognition in the future generations. Going deep in Li Po’s poems, one would
discover that they covered the essence, forms and spirit of poetry starting from “feng Sao”,
which was the ancestral essentials Li Po blended harmoniously and gasp thoroughly. That also
was the spiritual status of Li Po unable to be explored and approached.
3
This paper aims at two points. Firstly, it is to rearrange the ideas of Li Po’s restoration
and review different interpretations on this topic hereunto. Secondly, focus is on analyzing the
art of Li Po’s imitating classical mopels in his various poetic works, showing versatility of Li
Po’s poetic works in terms of restoration, and contrasting its union and contradiction with
reference to classical theories. The purpose is to put the controversy between “restoration”
and “creation” of Li Po to an historical end and meantime to make it public for the reality of
the great poet’s excellent art.
In addition to solving the divergent issue of Li Po’s “restoration”, this paper attempts to
highlight the utmost essence of poetic art by analyzing Li Po’s poetic works and to announce that
the art of Tan Dynasty reached its climax in Li Po’s “restoration and creation”. Li Po and Du Fu
were both second to none in creating the new style of poetic art by blending with the classics;
nevertheless, Li Po was more special than Du Fu in reviving the elegant tradition.
Subjects
Li Po
Restoration
Poetry of Tan Dynasty
Ku Feng
Publisher
臺北市：國立臺灣大學中國文學系暨研究所
Type
report
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