论唐诗中南朝主题的演变
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摘要
唐人对南朝各代历史事件与人物风流的吟咏,构成唐诗中占有重要地位的南朝主题。初唐诗中少有对南朝的吟咏,南朝作为一个艺术表现的对象尚未完全清晰地呈现出来;盛唐对南朝主题的表现,主要体现为张九龄、李白、王维等人诗中对江左风流的想象与吟咏,是高度审美化、抒情化的;安史之乱后,诗人们多流落江南,对南朝的抒写开始趋向写实,政治情境上的某种接近也让诗人们对南朝的历史发生新的兴趣,讽谕成为突出的倾向,在李商隐咏史诗中表现得尤为显著。上述对唐诗中南朝主题在不同阶段演变的研究,有利于我们将唐诗中的南朝作为一个整体的对象加以把握,也帮助我们更深入地理解唐诗的特质与南朝地域文化的关系。
Scholars in the Tang Dynasty were inclined to reminisce about historical events and personalities and trends in the Southern Dynasties,which later resulted in the theme of the Southern Dynasties,one of the important themes of the poetry in the Tang Dynasty. In the early Tang Dynasty,few poems chanted about the Southern Dynasties because the latter had not emerged yet as the object of artistic expression. In the prosperous phase of the dynasty,the theme of the Southern Dynasties rose as the favorite of many contemporary poets,such as Zhang Jiuling,Li Bai,Wang Wei and the like. They presented their highly aesthetic and lyrical imagination and chanting about romance alongside the south bank of the Yangtze in their poems. After An Lushan and Shi Shiming's Rebellion,most poets stranded away to southern China. They began to write about the Southern Dynasties in a realistic way. Since their political situation was much similar to the former dynasties,the poets began to show interest in the history of the Southern Dynasties. Thus irony rose as a prominent trend in poem writing,which was most typically expressed in Li Shangyin's poems. In a word,an analysis of the evolution of the Southern Dynasties as a theme of the poetry in the Tang Dynasty will help to deeply perceive the relationship between characteristics of the Tang poetry and regional cultures of the Southern Dynasties.
Scholars in the Tang Dynasty were inclined to reminisce about historical events and personalities and trends in the Southern Dynasties,which later resulted in the theme of the Southern Dynasties,one of the important themes of the poetry in the Tang Dynasty. In the early Tang Dynasty,few poems chanted about the Southern Dynasties because the latter had not emerged yet as the object of artistic expression. In the prosperous phase of the dynasty,the theme of the Southern Dynasties rose as the favorite of many contemporary poets,such as Zhang Jiuling,Li Bai,Wang Wei and the like. They presented their highly aesthetic and lyrical imagination and chanting about romance alongside the south bank of the Yangtze in their poems. After An Lushan and Shi Shiming's Rebellion,most poets stranded away to southern China. They began to write about the Southern Dynasties in a realistic way. Since their political situation was much similar to the former dynasties,the poets began to show interest in the history of the Southern Dynasties. Thus irony rose as a prominent trend in poem writing,which was most typically expressed in Li Shangyin's poems. In a word,an analysis of the evolution of the Southern Dynasties as a theme of the poetry in the Tang Dynasty will help to deeply perceive the relationship between characteristics of the Tang poetry and regional cultures of the Southern Dynasties.
引文
[1]李延寿.北史[M].北京:中华书局,1974.
[2]葛晓音.江左文学传统在初盛唐的沿革[M]∥诗国高潮与盛唐文化.北京:北京大学出版社,1998.
[3]房玄龄,等.晋书[M].北京:中华书局,1974.
[4]萧统.文选[M].北京:中华书局,1977.
[5]姚思廉.陈书[M].北京:中华书局,1972.
[6]魏徵,等.隋书[M].北京:中华书局,1973.
[7]李延寿.南史[M].北京:中华书局,1975.
[8]沈约.宋书[M].北京:中华书局,1974.
[9]萧子显.南齐书[M].北京:中华书局,1972.
[10]刘学锴.温庭筠全集校注[M].北京:中华书局,2007.
1 本文所引唐人诗,皆据清人彭定求等主编《全唐诗》,中华书局1960年版,为避繁琐,不一一出注。
2 此诗逯钦立《先秦汉魏晋南北朝诗》(中华书局1983年版)题作谢朓《入朝曲》。
1 此处有关“江左风”的论述,参考了钱志熙先生《论王维盛唐正宗地位及其与汉魏六朝诗歌传统之关系》见《北京大学学报》(哲学社会科学版)2011年第4期一文。
2 编年据杨世明《刘长卿编年校注》,人民文学出版社1999年版,第123页、第203页、第276页。
1作为一个艺术上全面发展、渊源深厚的大诗人,李诗中表现的文学南朝具备鲜明的个性。这主要表现在其对陶谢及其诗歌传统的隔膜与某种程度的忽略,以及对沈约、谢朓、范云、任昉、邱迟、柳恽、江淹、徐陵、庾信、江总等齐梁陈诗人的标举,其中尤重沈约、任昉、庾信诸家。他不仅艳称齐梁文学,且对晋宋和齐梁文人之间的交游风气也颇有称许。但这不是本文论述的重点,此处不作具体展开。
1两处引文分别出自刘学锴、余恕诚《李商隐诗歌集解》第1 376页引陆崑曾《李义山诗解》评、第1 380页引纪昀《李义山诗辑评》语。
1 其《齐宫》末联“所恨章华日,冉冉下层台”即脱胎于《乌栖曲》“东方渐高奈若何”。
2 吟咏古都金陵一直是南朝主题的重要内容,自刘禹锡金陵诸咏之后进一步发展,晚唐如殷尧藩、唐彦谦、吴融、王贞白、李洞、唐尧臣等皆有《金陵怀古》诗,艺术上又逊于许浑。
[2]葛晓音.江左文学传统在初盛唐的沿革[M]∥诗国高潮与盛唐文化.北京:北京大学出版社,1998.
[3]房玄龄,等.晋书[M].北京:中华书局,1974.
[4]萧统.文选[M].北京:中华书局,1977.
[5]姚思廉.陈书[M].北京:中华书局,1972.
[6]魏徵,等.隋书[M].北京:中华书局,1973.
[7]李延寿.南史[M].北京:中华书局,1975.
[8]沈约.宋书[M].北京:中华书局,1974.
[9]萧子显.南齐书[M].北京:中华书局,1972.
[10]刘学锴.温庭筠全集校注[M].北京:中华书局,2007.
1 本文所引唐人诗,皆据清人彭定求等主编《全唐诗》,中华书局1960年版,为避繁琐,不一一出注。
2 此诗逯钦立《先秦汉魏晋南北朝诗》(中华书局1983年版)题作谢朓《入朝曲》。
1 此处有关“江左风”的论述,参考了钱志熙先生《论王维盛唐正宗地位及其与汉魏六朝诗歌传统之关系》见《北京大学学报》(哲学社会科学版)2011年第4期一文。
2 编年据杨世明《刘长卿编年校注》,人民文学出版社1999年版,第123页、第203页、第276页。
1作为一个艺术上全面发展、渊源深厚的大诗人,李诗中表现的文学南朝具备鲜明的个性。这主要表现在其对陶谢及其诗歌传统的隔膜与某种程度的忽略,以及对沈约、谢朓、范云、任昉、邱迟、柳恽、江淹、徐陵、庾信、江总等齐梁陈诗人的标举,其中尤重沈约、任昉、庾信诸家。他不仅艳称齐梁文学,且对晋宋和齐梁文人之间的交游风气也颇有称许。但这不是本文论述的重点,此处不作具体展开。
1两处引文分别出自刘学锴、余恕诚《李商隐诗歌集解》第1 376页引陆崑曾《李义山诗解》评、第1 380页引纪昀《李义山诗辑评》语。
1 其《齐宫》末联“所恨章华日,冉冉下层台”即脱胎于《乌栖曲》“东方渐高奈若何”。
2 吟咏古都金陵一直是南朝主题的重要内容,自刘禹锡金陵诸咏之后进一步发展,晚唐如殷尧藩、唐彦谦、吴融、王贞白、李洞、唐尧臣等皆有《金陵怀古》诗,艺术上又逊于许浑。