李白詩歌器樂意象研究

Abstract

本文旨在探討李白詩歌中的「器樂意象」，並辨識李白詩歌中頻繁使用的主要器樂——笛、笙、簫、琴、瑟、鼓、鐘七種，再分析各樂器所承載的特定意象類型、情感內涵，最後結合詩人作品繫年，考察這些器樂意象如何隨人生境遇與心境轉折而演變。本文以《李白全集校注彙釋集評》為主要文本，參酌歷代注疏、《樂書》等相關文獻，梳理器樂種類、意象內涵，並進行編年考察。本文介紹了笛、笙、簫、琴、瑟、鼓、鐘七種主要器樂在唐代的形制、音樂氛圍及其在李白詩中的總體使用概況。再深入剖析笛、笙、簫、琴、瑟、鼓、鐘七種器樂在李白詩歌中所形成的具體意象類型，並透過編年分析，揭示這些器樂意象並非靜態，而是隨著李白早年訪道、壯年求仕不遇、中年入仕與離京、晚年歷經亂離等不同生命階段呈現出動態演變。例如，琴音從早期的不遇之嘆，逐漸融入陶淵明式的歸隱，晚年則更側重友誼；笙樂的仙境意象在其入仕時曾短暫淡化；鼓聲在晚年甚至能重燃其入世熱情。此演變清晰印證了《禮記．樂記》「凡音之起，由人心生也」的觀點，器樂意象成為映照李白心路歷程的獨特稜鏡。本文梳理並分析李白詩歌的器樂意象及其演變，試圖填補與李白詩歌意象相關研究之缺。並試圖證明聽覺意象於李白詩歌藝術中的重要性，與器樂意象是理解其複雜情感世界、生命歷程與時代互動的關鍵之一，展現李白如何藉由「詩化的聲音」譜寫其跌宕傳奇的一生。This thesis investigates the"instrumental imagery" (器樂意象) in Li Bai's poetry, identifying seven key instruments (di, sheng, xiao, qin, se, gu, zhong) and analyzing their specific imagery and emotional connotations. Using primary texts like Li Bai Quanji Jiao Zhu Hui Shi Ji Ping and historical sources such as the Yue Shu, it chronologically examines how this imagery evolved with Li Bai's changing life circumstances and mindset. The study first outlines the Tang Dynasty context and Li Bai's general use of these instruments,then delves into their specific associated imagery. Chronological analysis reveals this imagery evolved dynamically through Li Bai's life stages: early Daoist seeking, mid-life career frustrations, court service and departure, and late-life turmoil. Examples include the qin's shift from expressing frustration to reclusion and friendship; the sheng's immortal-realm symbolism fading during court life; and the gu's unique ability to reignite passion in later years. This evolution confirms the Liji: Yueji's principle "sounds arise from the human heart" (凡音之起，由人心生也), with instrumental imagery acting as a prism onto Li Bai's inner journey. By analyzing this overlooked aspect, the study fills a research gap, highlights the importance of auditory imagery in Li Bai's art, and shows how "poeticized sound" (詩化的聲音) reflects his complex emotions, legendary life, and interaction with his era.