謝朓詩的情景關係─以「觀看」為核心主題

Abstract

謝朓南朝齊詩人，以具有濃厚抒情性的山水詩聞名，他的表現手法與觀物方式，更影響唐代山水詩的創作。謝朓在詩作中使用許多視覺動詞，隨著觀看字彙的不同，呈現景物的方式與情感也有所改變，豐富了觀看的層次與內蘊，也使謝朓在詩學傳統中擁有獨特的抒情方式。本文以「觀看」為核心，輔以梅洛龐蒂（Maurice Merleau-Ponty）的身體論述，以及阿恩海姆（Rudolf Arnheim）的視覺理論，從視覺、身體與世界三者的關係，討論謝朓詩的情景問題。首先梳理魏晉六朝對情景關係的討論，思考謝朓在此詩學脈絡下的繼承與新變；繼而以作品中的視覺表現為切入角度，談論視覺的重要性，並從詩中各個觀看字彙的意義，討論觀看方式的特質，以及背後所蘊含的深意。人除了透過視覺與外界事物產生互動，視覺也與其他感官互相影響及作用，以身體為統合主軸，開啟對各種印象、回憶的聯結；也在視線的轉折與姿勢的變化之間，「體現」詩人的情感世界。就在視覺與身體的聯繫下，謝朓的世界在活動中逐漸被建構出來，藉由詩人對時空的觀察與描繪，展現他的觀物眼光，以及和世界的互動關係；並從開放的視野與限制的視框兩種觀看模式，開啟對自我生命的思考。最後環扣視覺、身體與世界的關係，從焦點的轉移與氛圍的渲染討論詩人情感的醞釀與生發，並藉以彰顯謝朓抒情方式的獨特性，以及情景互動的歷程。

Hsieh Tiao, a poet of the Qi of Southern dynasties, was known for his landscape poetry full of lyrical spirit. The techniques of expression and methods of observing in his work had a substantial influence on the landscape poetry of the Tang dynasty. There was a great amount of visual verbs in Hsieh’s poems. The presentation of scenes and emotion in his poems varied with the choosing of different visual verbs, not only enriching the aspects and connotation of his observation, but endowing his literary works with a distinguishing lyricism in Chinese poetic tradition. This thesis focuses mainly on Hsieh’s “observation”, while taking the body discourse of Merleau-Ponty and the visual theory of Rudlf Arnheim as secondary reliance, attempting to examine the emotion and scene in Hsieh’s poems from the perspective of the relation between the sight , the body and the world. Starting with analyzing the correlation between emotion and scene in the literature of Wei-Jin and Six dynasties, this thesis reviews Hsieh’s inheritance and innovation from the poetic tradition. The thesis proceeds to discuss the significance of “sight” through the visual expression in Hsieh’ literary works, meanwhile exploring the distinguishing characteristics and implications in different ways of “observation”. The sense of sight interacts with the external world as well as with the other senses, integrating into the body and then triggering all kinds of memories. The emotional world of the poet is thus reflected between the transitions of sights and the transformations of postures. Hsieh’s world was gradually constructed from the association of the sight and the body. The poet’s perspective of observation and his interaction with the world was presented by his portraits of time and space; Moreover, the meditation upon life was brought out through open and restricted sights. The final part of the thesis sticks closely to the relation between the sight, the body and the world, and by examining the brewing and the release of the poet’s emotion through the shift of focus and the exaggeration of the atmosphere , the thesis emphasizes the distinctness of Hsieh’s lyricism, and the interaction between emotion and scene of his poems.