六朝同題詩歌研究

Abstract

本文以六朝詩歌常見的同題詩歌作為研究對象，包括與前人同題的擬作和與時人同題的共作。採用與他人相同的題目寫作詩歌，標誌著詩人在自我抒情之外所呈現出的，與其他詩人的關係樣態：學習、創新與對話等等。一個同題群中的詩作，縱向觀之，可以反映文學傳統的形成與嬗變；橫向觀之，則可觀察文學集團成員隱含在同題共作中，指向在場他者的話語。 本文主要分為三大部分：一、將「同題」視為一種文學史現象，從客觀環境與文學理論等背景，探討六朝詩人與他人同題的原因與心理動機，包括文學集團活動密切，以及文學自覺、重視學習、回顧傳統、建構經典等方面。二、從相同題目的歷時性流變，分析六朝詩歌從魏晉至梁陳，抒情傳統逐漸被取消的過程。「由抒情到描寫」不僅是一種自然的發展，更表現在齊梁詩人藉著同題擬作的形式，刻意置換、消弭嚴肅的情志成分，針對前人、前作而來的新變。從樂府舊題、雜詩、擬古、季節時間與人物形象等大類中的個別同題群，均可看出一致的消解現象。三、從文學集團共時性的同題共作，分析文人群體藉著詩歌所凝聚、共存的時空，以及可能隱藏的社交、遊戲話語。文學集團主人在此場合扮演著關鍵角色，往往是臣下以詩發言的受話者。此外，齊梁以後的詠物、邊塞二類同題共作，更一方面繼承縱向的託物╱遊俠言志同題傳統，另一方面將之轉化為因來自文學傳統而彼此共知的話語，向君主宣示忠誠或表達感謝。期能較為全面的探討六朝同題詩歌及其所呈現的意義。

This dissertation focuses on poems written during the Six Dynasties period with titles identical to either poems composed earlier or by contemporary poets. For, in addition to personal expression on the part of the poet, the act of writing a poem with the same title as another author can indicate a number of different relations with the that author: imitation as a method of practice, imitation as a creative endeavor, of a dialogue. From a diachronic perspective, poems with the same title can reflect the formation and development of a literary tradition; from a synchronic viewpoint, the fact of writing under a common title can reveal membership in a common literary clique and point to a dialogue being undertaken with a (whether it be implied or physically) present other. The argument made here is divided into three parts. First, the fact of poems being written under the same title is taken to be a literary-historical phenomenon. As such, we look at the objective literary environment and the contemporary literary theory that formed the background for such a phenomenon in order to discuss the reasons and psychological motivation for Six Dynasties period poets composing works with title identical to other poems, including the close interaction between members of literary cliques, literary self-awareness, the attention given to study through imitation, reflections on tradition, and the construction of classics. Second, we will look at changes over time in these poems in order to analyze the gradual disappearance of the lyrical tradition from the Wei-Jin period to the Liang-Chen period. This transition from lyricism to a more descriptive style was not simply a natural development; but rather can be seen in the way poets of the Qi-Liang dynasties consciously substitute out or simply blot out lyric elements in their own works of this type and develop a new style on the foundations of earlier poets and poems.This development can be seen in all types of these poems, regardless of whether they are in the style of old yue-fu themes, or written on various themes, nostalgic retrospectives on the past, seasons, or personalities. Third, by looking at works written corporately under identical titles by members of the same literary clique, we analyze how literary cliques make use of the common space-time fields created through their poetic efforts and possible social and ludic discourses that may be hidden in these works. The heads of literary cliques play a critical role in these arenas and it is common to see them appear as the receiver of comments from their courtly underlings expressed in poetic form. In addition, after the Qi-Liang period, works of the same title falling under the categories of odes and frontier poetry not only diachronically take up the previous tradition of self-expression through projections onto things (託物) and knight errant themes (游俠), but also transforms it into a common discourse with roots in the literary tradition that acts as a vehicle for proclaiming loyalty or expressing gratitude to the ruler. It is hoped that this dissertation will be able to provide a relatively thorough review of poems using the same title during the Six Dynasties period and an explanation of its meanings.