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| 題名: | 浩虛舟律賦研究;A Study On Lu-Fu of Hao, Hsu-Chou |
| 作者: | 江道一;CHIANG, TAO-YI |
| 貢獻者: | 中國文學系 |
| 關鍵詞: | 浩虛舟;律賦;賦譜;賦;唐賦;Hao, Hsu-Chou;Lu-fu;Fu-pu;Fu;Fu in Tang Dynasty |
| 日期: | 2020-08-20 |
| 上傳時間: | 2020-09-02 15:03:01 (UTC+8) |
| 出版者: | 國立中央大學 |
| 摘要: | 元代祝堯提出「祖騷宗漢」的賦學宗尚，而明代李夢陽嘗言「唐無賦」，倘祝堯與李夢陽兩人所言屬實，則唐代辭賦應當不具備討論的空間。然而宋代李昉《文苑英華》卻以「精加銓擇，以類編次」為編纂標準，收錄大量唐人辭賦，可知唐代辭賦或因元明的文化思潮而招致批評，並非真如李祝二人所稱之一無是處，顯見唐代律賦的研究空間與價值。據簡宗梧先生之研究，律賦實為唐代賦體之典範，唯唐代律賦的價值，在後世文壇仍引發激烈的辯論，因此本文將以律賦作為典範標準，進行後設性思考與研究，並抉發浩虛舟在律賦正典化的過程中，扮演關鍵性的角色。
本文以《賦譜》為參據，考察浩虛舟律賦之典律化傾向。浩虛舟律賦今存八篇，題材思想均出於儒道，偶有摻雜佛家思想；和同時期的作家相比，在思想考察與賦題出典上，都能看出浩虛舟處在中晚唐律賦文學思想的重要交界。同時本文以統計數據之方式，考察浩虛舟用韻、句式，和同時期作家相比，浩虛舟在用韻上技術已相當純熟，無出韻之現象；至於句式，和中唐諸家相比，其結果相當接近《賦譜》所提出的作賦法式。綜合以上，浩虛舟律賦可說是目前研究中最接近「典律」之作品，同時可知律賦大約於浩虛舟的文壇活動時期，完成典律化。
;Li, Meng-yang 李夢陽 said: “Fu doesn’t exist in Tang dynasty. 唐無賦”In this case, we couldn’t find any Fu masterpieces in Tang Dynasty唐朝. However, Li, Fang 李昉, from Song Dynasty 宋朝, edited “Wen-yuan-ying-hua”文苑英華, in which many Fu elite pieces from Tang Dynasty were collected and edited. From this perspective, the point ‘Make Chu-sao and Han-fu great again 祖騷宗漢’ of Chu, Yao 祝堯 was allied to the view on the Gu-fu 古賦; so was the view of Hsu, Shih-Tcheng 徐師曾, the authour of Wen-ti-ming-pien 文體明辨. There was a different pattern of literature between them and Li, Fang, thus getting the scholars intrigued and manifesting interest in studying. According to Chian, Tshung-wu 簡宗梧, Lu-Fu 律賦 was the paradigm in its age, but it went through centuries with anomalies accepted. Consequently, in this study, the research on Lu-Fu to research would be approached with metacognition.
Based on “Fu-Pu 賦譜” , this essay would research into the eight Lu-Fu pieces of Hao, Hsu-chou and the their canonization. These eight Lu-Fu pieces were written in Tang Dynasty, when Buddhism and Taoism were the mainstream religions, hence some Buddhist and Taoist thoughts in his works. In spite of the assigned topic by the setter of imperial examination 科舉考試, his works sometimes are evidence of more profound Buddhism influence compared to his contemporaries, which is a valuable reference for the study in Lu-Fu. On the other hand, this essay also studies the rhymes, sentence patterns and the structure of paragraphs as stated in the static analysis. Overall, Hao, Hsu-chou Lu-Fu works are more closed by the paradigm as the foundation of “Fu-Pu”. In conclusion, his Lu-Fu pieces have been the most acclaimed works in Lu-Fu studies so far, and the literary circle has acknowledged the contribution of Lu-Fu. |
| 顯示於類別: | [中國文學研究所] 博碩士論文
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