唐代文人《莊子》文學(xué)接受研究
發(fā)布時(shí)間：2018-09-03 10:55
【摘要】：《莊子》給后世文人提供了困境中的處世智慧,而唐代文人《莊子》文學(xué)接受,既從思想上挹取其處世智慧,又在文學(xué)創(chuàng)作方面將其作為效法的典范。本論文立足接受者的生命遭際展開研究。全文分為六章。第一章探討唐代文人《莊子》文學(xué)接受的文化語境,并概說其接受狀況。時(shí)代文化語境對(duì)接受行為起促進(jìn)作用。在唐代,道教地位上升,作為道教經(jīng)典的《莊子》再次興盛,而且《莊子》成為道舉科考的必習(xí)之典。唐代儒釋道三教鼎立,并逐漸融合,這使得唐代文學(xué)中的《莊子》接受出現(xiàn)援儒入莊、援佛入莊的現(xiàn)象。不同時(shí)期不同遭際以及創(chuàng)作風(fēng)格的文人和《莊子》文本產(chǎn)生了不同的契合點(diǎn)。第二章論述初盛唐隱逸文人對(duì)《莊子》的接受。莊子本人就是一位名隱者,《莊子》中也塑造了眾多的隱者形象,闡發(fā)了全生保性、陸沉心隱的隱逸思想。王績(jī)、孟浩然、王維分別代表了隱逸的主要三種類型:激憤而隱、適性而隱、避世朝隱。處于政權(quán)交替時(shí)期的王績(jī),不為世用,心歸《莊子》,激憤而隱,以委運(yùn)隨化的生存態(tài)度來平息生命的激憤。他構(gòu)筑了一個(gè)超越塵俗的理想酒鄉(xiāng),逍遙于此,以全生保性。孟浩然拒絕了來之不易的入仕機(jī)會(huì),因?yàn)榉判郧笳娴乃辉甘艿绞`。他的詩文多采擷《莊子》語詞,表意上追蹤《莊子》,闡釋莊理,體現(xiàn)了多向度的接受特征。孟詩風(fēng)格沖淡,接受了《莊子》保持素樸本色,以淡為美的審美情趣。王維仕宦經(jīng)歷坎坷,吏隱于朝,退往內(nèi)心的修持。他的詩歌描寫了眾多的無我之境,以物觀物,去除了自我中心點(diǎn),接受了《莊子》與自然化而為一的思想。他莊禪雙修,空明澄澈的詩境既有佛禪的印跡,又是接受《莊子》的結(jié)果。初盛唐時(shí)期,還有其它不少的隱逸文人,他們身隱林泉,在《莊子》中尋找慰藉心靈的智慧,并保持自我的天然本性。第三章探討浪漫文人李白對(duì)《莊子》的接受。李白化用了《莊子》的文學(xué)形象,最為典型的就是大鵬形象的再塑。李白筆下的大鵬具有氣勢(shì)雄偉、自由逍遙、志向遠(yuǎn)大的精神內(nèi)涵,結(jié)合了他自己的生命體驗(yàn)。他的詩文呈現(xiàn)出了一個(gè)自大自足的自我形象,表現(xiàn)出了強(qiáng)烈的獨(dú)立意識(shí),甚至被視為狂傲,這都是李白的大鵬形象人格化精神的表現(xiàn),是對(duì)《莊子》的進(jìn)一步闡釋。李白詩文想象奇特,夸張?bào)@人;境界闊大,氣勢(shì)豪放;意接詞斷,跳蕩奔放,其創(chuàng)作的審美風(fēng)格與《莊子》相類。第四章探討中唐貶謫文人對(duì)《莊子》的接受。貶謫文人面對(duì)貶謫之后的種種困境,需要適當(dāng)修正自我的處世品格。他們以"愚"處世,將先前凌厲的生命鋒芒潛藏起來,改以柔性隱忍、庸愚無用,并在愚中寓慎,追慕人性愚樸,疏離世俗紛爭(zhēng),全身遠(yuǎn)害,獲得心靈的快樂,這顯然來自于《莊子》。面對(duì)哀痛的情緒,貶謫文人有兩種反應(yīng),其一就是排遣、淡釋悲戚之情,最為典型的就是柳宗元的山水游記。在貶地山水中,他體會(huì)到了生命逍遙自由的樂趣,并進(jìn)入《莊子》與"道"冥合的境界,同時(shí)又難掩悲戚的生命情緒。其二是完全掙脫貶謫之悲,最為典型的是白居易的中隱。他疏離了世俗是非,創(chuàng)作了大量的閑適詩來吟詠心靈世界的滿足和精神的快適,將《莊子》的逍遙精神延伸到了日常,還賦予睡眠以心安無慮的莊學(xué)內(nèi)涵。在文學(xué)創(chuàng)作方面,韓愈"不平則鳴"的文學(xué)理論和《莊子》論"情"有一定的聯(lián)系,貶謫文人凄楚哀傷的生命情緒也在其創(chuàng)作中悲"鳴"而出,是《莊子》情論的具體例證。他們以陌生化的眼光在詩文中戲謔嘲諷,解構(gòu)哀戚,在憂憤中實(shí)現(xiàn)一種特殊的曠達(dá)解脫,這種戲謔為文的態(tài)度和《莊子》不無關(guān)系。寓言的戲謔功能和寄意托志的靈活性,使得貶謫文人以敏感的身份選擇了它,并把效仿的目光對(duì)準(zhǔn)了大量創(chuàng)作寓言的《莊子》。他們采用《莊子》模式的故事框架,或者闡釋莊理,并以寓言自況,其寓言的形象類型也接受了《莊子》。第五章論述鬼才文人李賀對(duì)《莊子》的接受。李賀一生都在期待和孤憤中度過,現(xiàn)實(shí)不能使他的心靈自由舒展,他極其需要冥想的空間。在文學(xué)世界中,他接受了《莊子》超越性的心"游"方式。"游"于鬼魅之域,他尋找生命的知音,抒憂釋憤;"游"于天國世界,他寄托自己美好的理想。李賀創(chuàng)作心理幽凄陰冷,他在詩歌中喜歡選用冷色調(diào)的語詞,和莊子的創(chuàng)作心理冥合一致。他也不愿意關(guān)注世俗的"真"與"假",只關(guān)注自己的感受,追求感受上的"神似",其詩歌重神略形,也走在《莊子》形神之論的延長(zhǎng)線上。第六章探討晚唐文人對(duì)《莊子》的接受。晚唐文人激憤于混亂的時(shí)代圖景,接受了《莊子》的憤世諷刺。他們展現(xiàn)了唐代"天下沉濁"之亂象,諷刺殘暴的君主,哀痛個(gè)人命運(yùn)之"非遭時(shí)",但激烈的憤恨情緒背后卻流淌著感傷的意緒。唐代末期,文人的心態(tài)呈現(xiàn)出脆弱敏感,隱幽細(xì)約,其創(chuàng)作追求一種意蘊(yùn)深曲的審美風(fēng)格,發(fā)展了《莊子》的言意之辯。他們主張文以意為主,追求象外之象、景外之景、韻外之致,其詩歌創(chuàng)作上也在努力實(shí)踐這一主張。李商隱詩歌經(jīng)常表達(dá)一種隱幽深微的意緒,采用離形取神的寫法,更深化了《莊子》的言意之辯。晚唐世風(fēng)衰頹,文人們拒絕亂世中權(quán)利的追逐,也拒絕逐利漩渦的沉淪,占據(jù)其生命的是《莊子》的避世情懷。晚唐文人使其精神意趣回歸自由疏散的狀態(tài),以無用來保生全性,對(duì)抗世俗。他們給日常生活賦予文人品格,使之呈現(xiàn)雅化的文化情趣,增添了一份《莊子》式的精神逍遙。但避世情愫的生發(fā)卻是被動(dòng)無奈選擇的結(jié)果,與之相隨的是不可避免的怨憤之情,這種復(fù)雜的感情疊加也和《莊子》相一致。
[Abstract]:Chuang Tzu provides the wisdom of the literary world in the predicament for the later generations, while the literary acceptance of Chuang Tzu in the Tang Dynasty not only takes the wisdom of the literary world from the ideological point of view, but also takes it as a model of imitation in literary creation. In the Tang Dynasty, the status of Taoism rose, as a Taoist classic, Chuang Tzu flourished again, and Chuang Tzu became a necessary part of the imperial examination of Taoism. The second chapter discusses the acceptance of Chuang Tzu by the hermit writers in the early Tang Dynasty. Chuang Tzu himself is a famous hermit. In Chuang Tzu, many hermit images are created and the whole life preservation is expounded. Wang Ji, Meng Haoran and Wang Wei respectively represent the three main types of reclusion: indignation and seclusion, suitability and seclusion, and avoidance of seclusion. Meng Haoran refused the hard-won opportunity to enter an official position because he did not want to be bound by the unrestrained pursuit of truth. His poems and essays collected many words from Zhuangzi, traced Zhuangzi ideographically, explained Zhuangli, and embodied the characteristics of multi-dimensional acceptance. Wang Wei's poems depict a lot of selfless realms, with the view of things, removing the point of self-centeredness, and accepting the idea of "Chuang Tzu" and naturalization as one. His double meditation of Chuang Tzu and Zen, the empty and clear poetic realm, is both the impression of Buddhism and Zen and the result of accepting "Chuang Tzu". In the prosperous Tang Dynasty, there were many other reclusive scholars, who hid themselves in Lin Quan, sought spiritual comfort in Zhuangzi, and maintained their natural instincts. Chapter Three explored the acceptance of the romantic scholar Li Bai to Zhuangzi. Li Bai's poems and essays show a self-conceited self-image, a strong sense of independence and even arrogance, which is the embodiment of Li Bai's personalized spirit of the ROC image and a further interpretation of Zhuangzi. Chapter Four discusses the acceptance of Chuang Tzu by the relegated scholars in the Middle Tang Dynasty. The relegated scholars face various difficulties after the relegation, and need to correct their own character properly. The sharp edge of life lurks in the dark and turns to be flexible and forbearable. It is useless to be cautious in foolishness, to pursue human nature foolishly, to alienate from secular disputes, to suffer all over the body, and to gain happiness in the soul. This obviously comes from Chuang Tzu. Yuan's travels to the mountains and rivers. In the mountains and rivers of the devalued land, he realized the joy of free and unfettered life, and entered the realm of "Chuang Tzu" and "Tao". At the same time, he could not hide his sorrowful mood of life. The world's contentment and spiritual rapidity extend Chuang Tzu's spirit of leisure to everyday life and endow sleep with the connotation of a carefree Chuang Tzu. In literary creation, Han Yu's literary theory of "unfairness leads to song" and Chuang Tzu's theory of "emotion" have a certain connection, and the life mood of depreciating literati's sorrow and sorrow is also reflected in his creation. Zi > the concrete example of the sentiment theory. They used the Unfamiliarized eye to ridicule in poetry, deconstruct grief, and achieve a special kind of broad-minded relief in sorrow and indignation. This kind of attitude of playful writing has nothing to do with Chuang Tzu. The playful function of fables and the flexibility of intention support make the derogatory literati choose it in a sensitive identity and imitate it. The fifth chapter discusses the acceptance of Zhuangzi by Li He, a scholar of ghosts and talents. Li He spent his whole life expecting and indignant, and the reality can not make his mind. In the literary world, he accepted the transcendental way of "traveling" in Chuang Tzu's mind. "traveling" in the realm of ghosts and ghosts, he sought the intimate friend of life, expressed his grief and dispelled his indignation; "traveling" in the world of heaven, he placed his beautiful ideal in his mind. He was not willing to pay attention to the secular "truth" and "falsehood", but only to his own feelings, pursuing the "miracle" of feeling. His poems lay stress on the spirit and outline, and also walked on the extension line of the theory of "Chuang Tzu". Chapter 6 explores the literati's acceptance of "Chuang Tzu" in the late Tang Dynasty. At the end of the Tang Dynasty, the literati's mentality was fragile, sensitive, subtle and delicate, and their creation pursued a deep aesthetic style. They advocated that literature should be based on meaning, pursuing the image outside the scene, the scene outside the scene, the rhyme outside the rhyme, and they also tried hard to practice this idea in their poems. Li Shangyin's poems often expressed a subtle mood, and adopted the writing method of taking the spirit out of form, which deepened the debate on the meaning of Zhuangzi. They refused the pursuit of rights in chaotic times, and refused the decay of the whirlpool of profit-seeking. They occupied their lives with Chuang Tzu's feelings of avoiding the world. The literati in the late Tang Dynasty returned their spiritual interests to the state of free evacuation, which was not used to preserve their lives and to fight against secularity. The spirit of Zi > is free and unfettered. But the generation of avoiding worldly feelings is the result of passive and helpless choices, accompanied by inevitable resentment. This complex emotional superposition is also consistent with Zhuangzi.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：I206.2
，
本文編號(hào)：2219783
[Abstract]:Chuang Tzu provides the wisdom of the literary world in the predicament for the later generations, while the literary acceptance of Chuang Tzu in the Tang Dynasty not only takes the wisdom of the literary world from the ideological point of view, but also takes it as a model of imitation in literary creation. In the Tang Dynasty, the status of Taoism rose, as a Taoist classic, Chuang Tzu flourished again, and Chuang Tzu became a necessary part of the imperial examination of Taoism. The second chapter discusses the acceptance of Chuang Tzu by the hermit writers in the early Tang Dynasty. Chuang Tzu himself is a famous hermit. In Chuang Tzu, many hermit images are created and the whole life preservation is expounded. Wang Ji, Meng Haoran and Wang Wei respectively represent the three main types of reclusion: indignation and seclusion, suitability and seclusion, and avoidance of seclusion. Meng Haoran refused the hard-won opportunity to enter an official position because he did not want to be bound by the unrestrained pursuit of truth. His poems and essays collected many words from Zhuangzi, traced Zhuangzi ideographically, explained Zhuangli, and embodied the characteristics of multi-dimensional acceptance. Wang Wei's poems depict a lot of selfless realms, with the view of things, removing the point of self-centeredness, and accepting the idea of "Chuang Tzu" and naturalization as one. His double meditation of Chuang Tzu and Zen, the empty and clear poetic realm, is both the impression of Buddhism and Zen and the result of accepting "Chuang Tzu". In the prosperous Tang Dynasty, there were many other reclusive scholars, who hid themselves in Lin Quan, sought spiritual comfort in Zhuangzi, and maintained their natural instincts. Chapter Three explored the acceptance of the romantic scholar Li Bai to Zhuangzi. Li Bai's poems and essays show a self-conceited self-image, a strong sense of independence and even arrogance, which is the embodiment of Li Bai's personalized spirit of the ROC image and a further interpretation of Zhuangzi. Chapter Four discusses the acceptance of Chuang Tzu by the relegated scholars in the Middle Tang Dynasty. The relegated scholars face various difficulties after the relegation, and need to correct their own character properly. The sharp edge of life lurks in the dark and turns to be flexible and forbearable. It is useless to be cautious in foolishness, to pursue human nature foolishly, to alienate from secular disputes, to suffer all over the body, and to gain happiness in the soul. This obviously comes from Chuang Tzu. Yuan's travels to the mountains and rivers. In the mountains and rivers of the devalued land, he realized the joy of free and unfettered life, and entered the realm of "Chuang Tzu" and "Tao". At the same time, he could not hide his sorrowful mood of life. The world's contentment and spiritual rapidity extend Chuang Tzu's spirit of leisure to everyday life and endow sleep with the connotation of a carefree Chuang Tzu. In literary creation, Han Yu's literary theory of "unfairness leads to song" and Chuang Tzu's theory of "emotion" have a certain connection, and the life mood of depreciating literati's sorrow and sorrow is also reflected in his creation. Zi > the concrete example of the sentiment theory. They used the Unfamiliarized eye to ridicule in poetry, deconstruct grief, and achieve a special kind of broad-minded relief in sorrow and indignation. This kind of attitude of playful writing has nothing to do with Chuang Tzu. The playful function of fables and the flexibility of intention support make the derogatory literati choose it in a sensitive identity and imitate it. The fifth chapter discusses the acceptance of Zhuangzi by Li He, a scholar of ghosts and talents. Li He spent his whole life expecting and indignant, and the reality can not make his mind. In the literary world, he accepted the transcendental way of "traveling" in Chuang Tzu's mind. "traveling" in the realm of ghosts and ghosts, he sought the intimate friend of life, expressed his grief and dispelled his indignation; "traveling" in the world of heaven, he placed his beautiful ideal in his mind. He was not willing to pay attention to the secular "truth" and "falsehood", but only to his own feelings, pursuing the "miracle" of feeling. His poems lay stress on the spirit and outline, and also walked on the extension line of the theory of "Chuang Tzu". Chapter 6 explores the literati's acceptance of "Chuang Tzu" in the late Tang Dynasty. At the end of the Tang Dynasty, the literati's mentality was fragile, sensitive, subtle and delicate, and their creation pursued a deep aesthetic style. They advocated that literature should be based on meaning, pursuing the image outside the scene, the scene outside the scene, the rhyme outside the rhyme, and they also tried hard to practice this idea in their poems. Li Shangyin's poems often expressed a subtle mood, and adopted the writing method of taking the spirit out of form, which deepened the debate on the meaning of Zhuangzi. They refused the pursuit of rights in chaotic times, and refused the decay of the whirlpool of profit-seeking. They occupied their lives with Chuang Tzu's feelings of avoiding the world. The literati in the late Tang Dynasty returned their spiritual interests to the state of free evacuation, which was not used to preserve their lives and to fight against secularity. The spirit of Zi > is free and unfettered. But the generation of avoiding worldly feelings is the result of passive and helpless choices, accompanied by inevitable resentment. This complex emotional superposition is also consistent with Zhuangzi.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：I206.2
，
本文編號(hào)：2219783
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