徐國能Hsu, Kuo-Neng林家丞Lin, Chia-Cheng2023-12-082023-01-052023-12-082023https://etds.lib.ntnu.edu.tw/thesis/detail/e62685ae652dd0ef1ae477cf393098b5/http://rportal.lib.ntnu.edu.tw/handle/20.500.12235/119886陳子昂是唐初最為重要的詩人，其詩歌主張與詩歌實踐都對唐代詩歌發展造成影響，然而歷代對於陳子昂之詩歌主張與詩歌實踐的意見皆眾說紛紜，本論文欲釐清此現象，以期能更為全面的認識陳子昂。本論文認為唯有透過陳子昂〈修竹篇并序〉序文以及詩歌，才可以較為準確的得知陳子昂的詩歌主張，「興寄」的含義應是個人的「窮通出處之志」。〈修竹篇并序〉序文中另一重要觀念為「漢魏風骨」，「漢魏風骨」並不是「建安風骨」，陳子昂藉由漢魏並舉，削弱建安詩的特殊性，實為提倡「風骨」，陳子昂「漢魏風骨」的主張即是強調「文學作品在藝術表現上要能用簡明剛健的文辭，使讀者感受到作者的情志和個性。」由於陳子昂並不孤立在時代之外，對於陳子昂文學主張的探討也須旁及到同時代人的文論，陳子昂的主張同於時代之處是都有文質彬彬的理想；異於時代之處，是「風雅」的提倡，陳子昂提倡「風雅」，肯定「國風」和「建安文學」是異於同時代人的「文章之道」。陳子昂透過詩歌實踐自身「興寄」詩學的理想，觀察陳子昂的詩歌實踐可發現在共有四種呈現「興寄」的詩歌結構，這四種結構分別是（一）描述型結構（二）描述兼議論型結構（三）議論型結構（四）說理型結構。觀察陳子昂的詩歌實踐還可發現三種文學技巧表現「興寄」，分別為（一）破偶為散（二）託物言志（三）典故運用。在內容上，陳子昂〈感遇〉與〈修竹篇并序〉有內在關聯，這是陳子昂詩得以呈現陳子昂的文學主張的前提，後代對於陳子昂〈感遇〉的主流意見是仿擬阮籍〈詠懷〉，然而本論文認為《楚辭》「悲士不遇」傳統才是陳子昂「興寄」詩歌的根源，陳子昂〈修竹篇并序〉序文之「發揮幽鬱」便是此傳統「發憤以抒情」的創作模式的明確表示，陳子昂藉由直述、詠物、遊仙、詠史的內容創作「興寄」的詩作，這些作品都可歸入「悲士不遇」傳統。觀察陳子昂的詩歌實踐還可發現陳子昂詩大多為具有社交性質的應景詩，陳子昂的應景詩自有其價值，陳子昂藉由詩歌社交應酬，此一行動背後所欲達成的目的是與特定讀者共享價值，使陳子昂自身也可成為唐代文人階層的一員，透過這些應景詩可確知陳子昂並不獨立於唐代的文人，他也對唐代詩歌演進有所貢獻。要更全面的認識陳子昂還須反思陳子昂評價的形成，觀察歷代對陳子昂的評價可分為四個面向，分別是（一）陳子昂人格的討論（二）陳子昂各別詩歌的討論，（三）陳子昂詩歌綜論（四）陳子昂詩與「復古」的討論。本論文認為盧藏用是陳子昂評價形成的關鍵，盧藏用的意見影響綿延至今，於文學史還能看到相似的意見，本論文認為不應繼續以「復古」論陳子昂，因為陳子昂的詩歌主張雖是「復古」，相較於其他初唐的詩歌主張卻是「革新」，且陳子昂的詩歌實踐無論是形式或內容皆屬「革新」，此外，文學史應著力於陳子昂的文學史價值而不是藝術價值，陳子昂的詩歌實踐如何影響唐人才是文學史該重視的議題，且文學史的討論不該有所偏廢，不能僅止於探討陳子昂的古體詩，陳子昂的律體詩也須著墨，如此才能於文學史中呈現完整的陳子昂。Chen Tzu’ang was the most important poet in the early Tang Dynasty. His idea and practice of poetry had an impact on the development of poetry in the era. However, in the course of history, there were divergent views on his idea and practice of poetry that this paper aimed to clarify and help to gain a more comprehensive understanding of him.This paper argued that only through the foreword and poems of Chen Tzu’ang’s “The Bamboo” with preface could we accurately understand what his poems advocated, as depicted by the term, “Xingji”, which reflects a person’s “will to escape and succeed from failure”. Another important concept in “The Bamboo” with preface was the “Han-Wei Literary Style”, in which we must differentiate from “Jian’an Literary Style”. His idea of “Han-Wei Literary Style” that weakened the particularity of Jian’an poetry placed emphasis on the “strength of character”, which was a way of saying that “the artistic expression of a literary work should be simple and robust for readers to feel the author’s sentiment and personality”. Since Chen Tzu’ang was not isolated from his time, the discussion on his proposition of literatures should also be connected with the literary theories of his contemporaries. What made his idea the same as those of his time was that they were all ideal of gentleness. The difference lied in his literary pursuit of “elegance”, greatly contrasted with the contemporary writings in “national style” and “Jian’an literatures”.Chen Tzu’ang practiced his own ideal of “Association and Inner Sustenance” (Xingji) through poetry. When observing his practices, we found four poetic structures that present “Xingji” and they were: (1) descriptive structure; (2) descriptive and argumentative structure; (3) argumentative structure; and (4) reasoning structure. From his poetry, there were three literary techniques to express the concept, too, namely, (1) dissociation of couplet; (2) objectification of emotion; and (3) use of allusion. In terms of content, Chen Tzu’ang’s “Stirred by My Experience” was inherently related to “The Bamboo” with preface, as it was the premise of presenting his literary proposition. The mainstream opinion of future generations on his work, “Stirred by My Experience”, is that it was modeled after Ruan Ji’s “Intonement of Memories”. However, we begged to differ that the traditional grief of “misfortune for the talent” was instead the root of his poetry on “Xingji”. The sense of “depressive pessimism” in the foreword of “The Bamboo” with preface was a clear expression of the tradition of “indignation and lyricism” through literatures. Chen Tzu’ang’s poems included direct narratives, intonement of objects, stories of wandering immortals and aphorisms of history, which could all be classified in the traditional grief of “misfortune for the talent”. A look at Chen Tzu'ang's poetic practices also revealed that most of his poems were socially oriented and occasional verse, which have the value in socialization. He particularly used these songs to socialize and share his value with specific readers, as well as for him to become a member of the literati class in the Tang Dynasty. From analyzing his poems, we could conclude that he was not excluded in his time, but rather contributed to the evolution of poetry in the Tang Dynasty. To have a more comprehensiveunderstanding of Chen Tzu’ang, we must also reflect on the evolution of comments on him, in which these comments in the past dynasties could be categorized into four aspects, namely, the discussion on (1) his personality; (2) his individual poem; (3) review of his poetry; and (4) the relationship between his poems and the “old school”. This paper viewed Lu Tsangyung as the influential key to the evolution of comments on Chen Tzu’ang to this day, since there were similar opinions to be seen in the history of literatures. We also believed that Chen Tzu’ang should not be perceived by his similarity to the “old school”, despite of his poetry in “retro” style, when compared to some of early Tang poetries, which focused on “innovation”, especially when Chen Tzu’ang experimented poetry with “new” content and style. Moreover, in the history of literatures, we should focus on Chen Tzu’ang's literary-historical value rather than the artistic value, and how his poetic practices influenced the Tang people should be the topic of emphasis, or else the discussion of literary history would be biased and limited to exploring Chen Tzu'ang's poetry in ancient form, instead of focusing on the rhythmic style of his poetry, in order to present a complete view of him in literary history.陳子昂興寄〈修竹篇并序〉〈感遇〉詩學初唐詩Chen Tzu’angXingji(Association and Inner Sustenance)“The Bamboo” with Preface“Stirred by My Experience”PoeticsEarly Tang poetryetd