2009-08-012024-05-15https://scholars.lib.ntu.edu.tw/handle/123456789/662644摘要：唐詩風格意境最近於詞，且影響宋詞最深者，莫如李賀、李商隱。而兩宋詞人之中，風格最似長吉、義山，屢見詞評詞話論述者，應數南宋之吳夢窗。有關義山詩與夢窗詞的淵源影響，自作品風格、創作手法乃至作者性情、遭際與創作心理，當代學者已多所探討。然關於長吉詩與夢窗詞，至今所見，仍以作品分析或自寫作技巧論其形似風格之由來為主，甚少探究何以時代、身世、性情、際遇看來殊異的二人，在創作上會有如此相似表現，如鍊字修辭多突顯感官經驗，意象形構奇特而縝密，脈絡跳蕩真幻今昔之間，又偏嗜神話運用以營造幽奇色調？除學者所說，二人處於前賢輩出各顯風格的中唐、南宋，不得不「鎚幽鑿險，開徑自行」，突顯「另類」風格，是否還有其他原因？尤其夢窗乃具有高度自覺與創作意識的詞人，除寫作技巧的刻意取法，是否亦有自己而然的因素，使其詞風近似長吉，甚至流露相似的感受經驗與境遇思索？而相對的，在相似的作品風格中，是否夢窗仍因性情特質與詞體形式影響，表現與長吉殊異的情思與意境？ 　　如夏承燾先生所言：「宋詞以夢窗為最難治」。經觀察，夢窗乃兩宋詞人中，於東坡、稼軒之外，最喜獵奇神話、變化入詞者，其幽幻詞風的形成與神話運用應當有關。而長吉亦善於化用神話且與神話思維極為冥契之詩人，因此本計畫擬自神話入手，探究長吉運用神話的特殊手法是否為夢窗帶來影響，而夢窗神話書寫的特殊風格是否亦與其主觀、脆弱、精警、敏感近於神話時代的心靈特質有關。希望藉此再探析夢窗詞風的形成及近似長吉詩風的原因，並對夢窗詞的研究與詞意理解能有所拓展與助益。<br> Abstract: As Mr. Hsia Chengtao said: “In Sung ci-poetry, Mengchuang is the most difficult to study.” As observed, out of all ci-poetry writers in Sung Dynasties, Mengchuang was, besides Tung Po and Chia Hsuan, the one who liked most to be in touch with mythology and merge it with ci-poetry. The formation of his magical style must have something to do with his application of mythology. As Chang-Ji was also good at applying mythology and was a poet whose thought was silently identical to that of mythology, this plan will start from mythology to study whether Chang-Ji’s special technique of applying mythology had influenced Menchuang and whether Menchuang’s special technique of mythological writing has something to do with his being subjective, fragile, alert and sensitive, spiritual characteristics that existed in the mythological times. The formation of Mengchuang’s style and the reasons it is similar to Chang-Ji’s will be probed into in this paper to help one understand the definitions of ci-poetry and derive benefits from such knowledge.神話長吉詩夢窗詞mythLi Chang-ji`s poetryWu Mengchuang`s ci-poetry