| 摘要: | 在當代的理解中，唐代詩壇幾乎是男性的天下，女性則寥寥可數，除了上官婉兒（664-710）、李冶（？-784）、薛濤（？832）、杜秋娘（約生於大歷年間）、魚玄機（？-868）等人之外，似乎所剩無幾。而這樣的認知，顯然與唐代實況有一段落差。究竟當時有多少婦人寫詩？她們的詩歌表現、語言特質、書寫風格又為何？又與「帝王將相、朝士布衣」等男性詩人是否有異？此外，「唐女詩人」的經典化是如何形成？演變過程中，哪些女詩人本負盛名，卻逐漸銷聲匿跡，失去讀者關愛的眼神；哪些女詩人本無甚名氣，卻逐漸竄出，攫獲讀者的目光？期間的消長、起伏之跡，究竟如何？為解上述疑惑，故撰寫本論文。
本文所稱「女詩人」，是採陳尚君《唐女詩人甄辨》的用法，專指確為唐代人、確曾寫詩的女性；簡言之，就是指唐代「能寫詩的女性」。至於「唐女詩人」的身份認定，也依陳尚君考證結果，只取其《唐女詩人甄辨》「存真編」中的八十四位女性為對象，「存疑篇」中的十八位、「袪偽篇」中的四十二位，則不討論。本文以「唐女詩人」為研究對象，旨在探討「唐女詩人」詩歌究竟有何特色？藝術特質何在？呈現出何種風格？筆者的疑問，都可融匯在「美感特質」一詞之中。「美感特質」，本是源自葉嘉瑩先生的說法，依其論述，又可細分為「語言」與「書寫」兩種面相討論。本文據此，分為語言、書寫、詩歌史三種面向，由淺入深，從「語言」偏向表層的、字句的詩歌語彙切入，再擴及「書寫」等意象、風格層面的詩歌語境，最終觸及詩歌史的輪廓與命脈，才能完整釐清「唐女詩人」的詩歌樣貌、美感特質的精髓所在。
本文期許為「唐女詩人」研究奠定較為扎實的基礎，以期更靠近「唐女詩人」的實況；二方面也能為唐以後各朝各代的女詩人研究，提供一面可資參照的鏡子，折射出更豐富、精彩的女詩人身影。
;Summary
In contemporary understanding, the poetry of the Tang Dynasty is almost a male world, and there are only a few women, except Shangguan Yuer (664-710), Li Ye (?-784), Xue Tao (?832), Du Qiu Niang (about birth in Outside the calendar year, fish Xuanji (?-868) and others, it seems that there is very little left. This kind of cognition obviously has a bad relationship with the Tang Dynasty. How many young women wrote poetry at the time? What are their poetry expressions, language traits, and writing styles? Is it different from male poets such as "The emperor will be in the emperor? In addition, how is the classicization of "Tang Poetess" formed? In the process of evolution, which female poets were prestigious, but gradually disappeared, losing the eyes of readers; which female poets were not well-known, but gradually smashed out and captured the readers′ eyes? What is the trend of growth and decline during the period? In order to solve the above doubts, I wrote this thesis.
The term "female poet" in this article is the usage of Chen Shangjun′s "The Tang Poet′s Poetry Discrimination". It refers specifically to women who have indeed written poetry in the Tang Dynasty. In short, it refers to the "women who can write poetry" in the Tang Dynasty. As for the identity of the "Tang Poetess", according to the results of Chen Shangjun′s research, only the eighty-four women in the "Chen Zhen′s Poems of the Tang Poets" were selected, and eighteen of the "Questions" were Forty-two of the "puppet articles" are not discussed. This article takes "Tang Poetess" as the research object, and aims to explore the characteristics of "Tang Poetry" poetry. What is the artistic trait? What style is presented? The author′s questions can be integrated into the term "beauty traits". "Aesthetic traits", originally derived from Mr. Ye Jiaying′s statement, can be subdivided into "language" and "writing". According to this, the paper is divided into three aspects: language, writing, and poetry history. From the shallower to the deeper, from the "language" to the surface, the poetry vocabulary of the words, and then the "writing" and other imagery styles. In the end, we can fully understand the essence of the poetry and beauty of the Tang Poet.
This paper is expected to lay a solid foundation for the study of "Tang Poets" in order to be closer to the "Tang Poetess" the second aspect can also provide a mirror for the study of female poets of various generations after the Tang Dynasty. Reflecting a richer and more beautiful female poet.
Keywords: Tang poet, aesthetic trait, classic |
