兩宋集句詞研究

Abstract

兩宋時期為集句文學發展的重要階段，其中「集句詞」作為一種特殊的跨文類創作，過去多被視為雜體詞的一支而乏專門系統之論述。本論文旨在探討兩宋集句詞的發展脈絡、形式特徵與美學意義，以補足相關研究之缺口。文中首先回顧集句文學自六朝以降之源流，說明其如何在「晚唐體」、「西崑體」、「荊公體」、「江西詩派」等詩學風氣推動下，結合宋代文體「破體」現象，於兩宋逐步開展。在研究方法上，本文依循王偉勇對集句詞「雜集古句」的界定，將整引、截取、增損、化用、檃括等方式納入判準 。材料方面，以唐圭璋《全宋詞》為主體，參照張福清《宋代集句詞評注》，全數逐闋詳讀並比對出處，並延伸整理集句創作的特色。 研究程序依序由發展歷程、作品綜述與析論、至美學價值與影響進行探討。研究結果顯示，兩宋集句詞在形式上靈活多變，透過截取與化用，使前人詩句在詞體中形成「以故為新」的再創作 。在發展歷程上，由北宋初期如宋祁、王安石以集句為遊戲或炫技的嘗試 ，至蘇軾、黃庭堅等人注入個人際遇與詩學句法，再到南宋辛棄疾、汪元量等人將之轉化為寄託家國之痛與遺民血淚的嚴肅載體。結論指出，集句詞不僅是文人對經典詩文的選擇性吸收，更是讀者接受美學下，由接受者轉為創作者的實踐，其深化了杜甫等經典文本的「詩史」意義，並對後世韻文學產生深遠影響 。

The Song dynasty was a pivotal period for the development of jiju (collecting lines) literature. Among its various forms, cento-ci (jiju ci)—a genre composed by collecting lines from earlier poems—has often been treated merely as a sub-genre of miscellaneous ci poetry, lacking systematic scholarly attention. This thesis aims to explore the historical development, formal characteristics, and aesthetic significance of cento-ci during the Northern and Southern Song dynasties, thereby addressing this gap in scholarship. The study begins by reviewing the origins of jiju literature since the Six Dynasties, explaining how it evolved under the influence of poetic trends such as the Late-Tang style, the Xikun style, the Jinggong style, and the Jiangxi School, alongside the "genre-breaking" phenomenon in Song literature. Methodologically, this thesis adopts Wang Weiyong's definition of cento-ci as "collecting ancient lines," accepting techniques such as full quotation, excerpting, modification, and transformation as valid criteria. The primary source material is drawn from Tang Guizhang's Quan Song Ci, supplemented by Zhang Fuqing's Annotated Cento-ci of the Song Dynasty. All extant works were closely read and cross-referenced with their original sources. The structure of the research proceeds from the origins and development, to a comprehensive analysis of the works, and finally to their aesthetic value and influence. The findings indicate that Song cento-ci are flexible in form, utilizing rhetorical strategies to reconfigure previous poetic lines into new creations, thus "making the old new". The trajectory of its development shifts from the playful and skill-flaunting compositions of Northern Song poets like Song Qi and Wang Anshi , to the infusion of personal experience and poetic syntax by Su Shi and Huang Tingjian , and finally to the Southern Song, where poets like Xin Qiji and Wang Yuanliang transformed the genre into a serious medium for expressing national grief and loyalist sorrow. The conclusion posits that cento-ci represents not only a selective absorption of classical texts but also a practice of "Reception Aesthetics," where the reader becomes the creator. This process deepened the "poetic history" significance of classic texts like Du Fu's poetry and exerted a profound influence on later rhymed literature.