辛棄疾山水田園詞的自我意識與詞情特質

Abstract

《辛棄疾山水田園詞的自我意識與詞情特質》最主要的關懷在於說明，辛棄疾的山水田園詞不可只視作山水田園詩傳統的一部分，而更該置放於詞的脈絡下觀看，注意其身為「詞」的獨特性。因此，不應只由詩歌的抒情傳統注意其比興意象，而更應注意其中的詞情特質，而辛棄疾山水田園中所呈現的情感，是可與花間典範所建立的詞情特質相互呼應的。本論文分為五個章節，架構如下： 第一章緒論從辛棄疾山水田園詞目前的研究狀況開始，注意到其中討論所缺乏的一個面向，也就是關於辛棄疾山水田園詞之為「詞」這一重點的忽略，而思考到究竟詞的文體特質為何？這特質和作者之間有何種關聯？是否可從這樣的角度去重新探索這些山水田園作品，而得到更新的認識，不再只將它視為山水田園詩歌的餘緒來看待？同時也說明本論文選用「山水田園詞」的原因與此名詞的範圍界限，以及本論文的研究架構。 第二章將以辛棄疾的創作背景為主，先從外緣角度來觀看辛棄疾寫作山水田園詞時的一些背景，而認為辛棄疾在南宋時期，有充足的外在條件和個人因素使他傾向以詞作為主要的創作文體，同時他也繼承了前代累積的隱逸思想和山水田園文學典範，從而得以站在前人的基礎上寫作山水田園詞。而在個人的心態上，辛棄疾一生致力北伐恢復，卻為大環境所困，現實與理想間的落差也造成他面對仕隱出處的矛盾掙扎，而他的山水田園詞就是這情況下的產物。 第三章主要介紹辛棄疾山水田園詞中自我與自然的互動關係，及他詞中所展現的自我意識。本論文認為辛棄疾具有重「氣」的思想，也因此展現出一種強大的、充滿相對性的自我意識。這自我意識導致他在創作中建造出一個充滿活潑動態的自然空間，而他自身則在其中與之產生種種推抗拉鋸的互動。另一方面，辛棄疾在面對山水田園時，仍不時有其失落，原本強烈的自我在追求閒適的隱逸典範下被壓抑住，而表現出一種隱匿的牢騷之情。這是他同一自我意識在不同追求下的相異表現。 第四章中將試圖回到詞的文體特質，以《花間》作為詞之主體風格的奠定，先探究早期文人詞的成立，受到音樂、作者、當時社會風氣與文學風氣等各方面的影響，並由此探討花間範式所呈現的詞情特質，而認為詞主要善於表達一種纏綿幽微、執著而失落的自我受限之情。而這種情感特質，又恰好可與辛棄疾的情感特質相互呼應，兩者都有其糾結、有其挫折，也有自造的困境的深化。辛棄疾實是出自他強烈的自我意識，通過相對激盪的方式，重新演繹了花間詞情。 第五章則為結論，總結全文研究成果，並提出延伸思考，期能在說明辛棄疾山水田園詞與詞情特質的關聯之後，使日後的討論者對詞之為體、對山水田園與對辛棄疾本人有更多的思索與發見。

The main concern of the thesis is to explain that Hsin Ch’i-Chi’s landscape and pastoral tz’u poetry should not only be understood as part of the landscape and pastoral poetry tradition, but viewed under the genre of tz’u, and more attention should be paid to the characteristic of tz’u poetry, especially the emotional essence, which shown in these works. As far as I am concerned, Hsin Ch’i-Chi’s landscape and pastoral tz’u poetry echoes with the emotional essence of tz’u which was build by the Hua-Chien (花間) model. This thesis consists of five chapters: Chapter 1 is introduction. Based on current research on Hsin Ch’i-Chi’s landscape and pastoral tz’u poetry, I discovered that one aspect worth exploring: the importance of genre studies in the study of tz’u poetry. At the same time, this chapter will define the range of landscape and pastoral works, and shows the critical theory. Chapter 2 focusing on the background of Hsin Ch’i-Chi’s time, the literary position of tz’u poetry in Southern Song Dynasty, the development of hermit ideas and the landscape and pastoral tz’u works, and Hsin Ch’i-Chi’s personal hermit experience will be covered. Chapter 3 examines Hsin Ch’i-Chi’s self consciousness and its representation in his landscape and pastoral tz’u poetry, indicating his respect of “Ch’i”(氣) and the emotional pattern it leads to in his works. Chapter 4 looks back on the genre of “tz’u”, discussing its establishment, the characteristics in lyric form, and the emotional essence which was brought out by “tz’u”. Finally, this chapter compares the emotional essence in Hua-Chien tradition and in Hsin Ch’i-Chi’s landscape and pastoral tz’u poetry, discovered that they have similar emotions, though shown in different expressions.