本文選題：阮籍 + 《詠懷詩(shī)》　； 參考：《深圳大學(xué)》2017年碩士論文

【摘要】：魏晉易代之交是風(fēng)云變幻、波詭云譎的時(shí)代,曹魏與司馬氏兩大政治集團(tuán)為爭(zhēng)奪政權(quán)展開(kāi)血腥、殘酷的爭(zhēng)斗。當(dāng)時(shí)大部分名士選擇退身自保,但事與愿違,被卷入這場(chǎng)政治漩渦中。作為魏晉名士的代表,阮籍本想遠(yuǎn)離政治,不愿意耽溺于仕途,但又不可能完全置身事外,不論是曹魏還是司馬氏,都極力拉攏他,這就決定了他一生都徘徊于出世與入世之間。阮籍對(duì)政治十分敏感,時(shí)時(shí)懷有憂懼之情,對(duì)幻想中的神仙世界既有憧憬又有懷疑,他將坎坷的生平、憂生的意識(shí)、深刻的哲思和超拔的詩(shī)才都熔鑄在五言《詠懷詩(shī)》中,以組詩(shī)的形式抒寫內(nèi)心的憂思激憤,在思想上和藝術(shù)上都取得了很大成就。作為魏晉詩(shī)歌的代表作,《詠懷詩(shī)》在中國(guó)古代詩(shī)歌史上占據(jù)了相當(dāng)重要的地位。阮籍的《詠懷詩(shī)》兼收并蓄、轉(zhuǎn)益多師,對(duì)于前人的作品如《詩(shī)經(jīng)》、《楚辭》、漢代樂(lè)府、《古詩(shī)十九首》以及建安詩(shī)歌等多有學(xué)習(xí)和借鑒,汲取了豐富的藝術(shù)養(yǎng)分。但詩(shī)歌藝術(shù)如果僅僅停留在接受上,畢竟無(wú)法形成絢爛奪目的藝術(shù)個(gè)性。阮籍不但“踵事”,而且“增華”,在《詠懷詩(shī)》中發(fā)揮了獨(dú)特的藝術(shù)個(gè)性。本文主要探討阮籍五言《詠懷詩(shī)》對(duì)《古詩(shī)十九首》的接受和發(fā)展。第一章為“五言《詠懷詩(shī)》對(duì)《古詩(shī)十九首》的接受”,從詩(shī)歌語(yǔ)言、題材內(nèi)容、詩(shī)歌意旨、表現(xiàn)方式、抒情方式等五個(gè)方面進(jìn)行深入的研究。第一節(jié)詩(shī)歌語(yǔ)言的接受,分析《詠懷詩(shī)》在詩(shī)句結(jié)構(gòu)和句意方面對(duì)《古詩(shī)十九首》的化用;第二節(jié)題材內(nèi)容的接受,主要有中夜不寐、游戲都城、思慕佳人、郊野觀墳等四部分的內(nèi)容;第三節(jié)詩(shī)歌意旨的接受,探討《古詩(shī)十九首》的生命意識(shí)對(duì)《詠懷詩(shī)》的影響;第四節(jié)表現(xiàn)方式的接受,主要從場(chǎng)景表現(xiàn)和比象藝術(shù)兩方面進(jìn)行分析;第五節(jié)抒情方式的接受,分析《詠懷詩(shī)》在長(zhǎng)于抒情的詩(shī)作風(fēng)格和自然委婉的藝術(shù)特質(zhì)兩方面對(duì)《古詩(shī)十九首》的接受。第二章為“五言《詠懷詩(shī)》對(duì)《古詩(shī)十九首》的發(fā)展”,從題材內(nèi)容、生命主題、抒情方式、比象藝術(shù)等四個(gè)方面進(jìn)行詳細(xì)的分析。第一節(jié)題材內(nèi)容的擴(kuò)大,論述《詠懷詩(shī)》憂生、游仙、諷喻、述志等四方面的內(nèi)容;第二節(jié)生命主題的深化,描述阮籍如履薄冰的憂懼之情與依違避就的矛盾心態(tài),以及對(duì)虛偽名教的反抗與對(duì)理想世界的向往;第三節(jié)抒情方式新變,分析《詠懷詩(shī)》幽微玄遠(yuǎn)的抒情風(fēng)格、富有個(gè)性的內(nèi)心獨(dú)白以及以玄入詩(shī)的詩(shī)歌特點(diǎn);第四節(jié)比象藝術(shù)的發(fā)展,主要從意象選用的豐富性和意象本身的多義性兩方面進(jìn)行探討。總之,阮籍五言《詠懷詩(shī)》對(duì)《古詩(shī)十九首》的接受是全面的,而在繼承接受的基礎(chǔ)上又有新的發(fā)展,本文將對(duì)此進(jìn)行較為系統(tǒng)、深入的研究、分析。
[Abstract]:At the turn of the Wei and Jin dynasties, the political groups of Cao Wei and Sima began a bloody and cruel struggle for political power. At that time, most celebrities chose to retreat to protect themselves, but contrary to their wishes, they were involved in the political whirlpool. As the representative of the famous personages of the Wei and Jin dynasties, Ruan Ji wanted to stay away from politics and did not want to indulge in his career, but he could not be completely sidelined. Both Cao Wei and Sima tried their best to persuade him. This decided that he lingered between birth and accession to the WTO all his life. Ruan Ji is very sensitive to politics and always has a feeling of fear. He has both a vision and a suspicion of the fairy world in his illusions. He melts his bumpy life, consciousness of worrying about life, profound philosophic thinking and transcendent poems in the five-character poem "Poetry on the Huai". Writing in the form of composition of poetry to express the inner feelings of indignation, in thought and art have made great achievements. As the masterpiece of Wei and Jin poetry, the poem of singing Huai Huai occupies a very important position in the history of ancient Chinese poetry. Ruan Ji's "Poems on the Huai", which can be absorbed by many teachers, have learned and used for reference for previous works such as the Book of songs, Chu ci, Yuefu in Han Dynasty, 19 Ancient Poems and Jian'an poems, and so on, which have drawn rich artistic nourishment from the works of previous generations, such as "Book of songs", "Chu ci", "Han Dynasty Yuefu" and "Jian-an poetry". But if poetry art only stays on the acceptance, after all, it can't form brilliant artistic personality. Ruan Ji not only "heel matter", but also "Zenghua", in the poem of Huai Huai play a unique artistic personality. This paper mainly discusses Ruan Ji's acceptance and development of Nineteen Ancient Poems. The first chapter is about the acceptance of the Nineteen Ancient Poems in five aspects: poetic language, subject matter, poetic intent, expression style and lyric way. The first section is the acceptance of poetic language, and the analysis of the use of the poem in the structure and meaning of the poem, and the acceptance of the content of the subject matter in the second section mainly includes sleepless nights, the capital city of games, and homesickness. The third section discusses the influence of the life consciousness of the Nineteen Ancient Poems on the poetry, the fourth section, the acceptance of the expression mode, and the content of the four parts such as the country visit to the grave, the acceptance of the meaning of poetry in the third section, the influence of the life consciousness of the Nineteen Ancient Poems, In the fifth section, the author analyzes the acceptance of the lyric way in the style of poetry which is longer than lyric and the artistic characteristics of natural euphemism in terms of the acceptance of "19 Ancient Poems". The second chapter is the development of the Nineteen Ancient Poems in five characters, which is analyzed in detail from four aspects: the subject matter, the life theme, the lyric way and the art of comparison. The first section is about the expansion of the theme content, which discusses the four aspects of the "poem on the Huai": worrying about life, traveling fairy, allegorical, and writing about history. In the second section, the deepening of the theme of life describes Ruan Ji's fear of walking on thin ice and his contradictory mentality of avoiding the violation of the law. The third section is about the new changes of lyric style, the analysis of the lyric style, the unique inner monologue, and the poetic characteristics of metaphysical poetry. The fourth section discusses the development of image art from two aspects: the richness of image selection and the polysemy of image itself. In a word, Ruan Ji's acceptance of Nineteen Ancient Poems is comprehensive, and there is new development on the basis of inheritance and acceptance.
【學(xué)位授予單位】：深圳大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.22

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