六朝五言詩空間描寫的句式與關鍵轉變

Abstract

空間，在詩歌中無論作為敘事抒情的場景，抑或是獨立的審美對象，皆是詩歌中不可或缺的面向。而空間描寫的句式，在魏晉南北朝之際發生重大的變化，連帶影響形式所開展的詩歌意境。 隨著中古時期，方位詞的語法化，詩歌開始普遍運用方位詞來深化空間層次、表現事物間的相對關係，並且明確詩人在詩境中的立身之處，使得詩歌展現的畫面更立體有序，且更具臨場感。而方位詞能夠將抽象事物地點化的特質，拓展了空間描寫句式的可能性，足以表達主觀性更強烈的情境。 另一方面，中古時期述補結構的興起，導致地點詞開始前移，不再拘於句末，進而導致語序的解放。在形式的層面上，此發展提供了詩人移字調聲的良好條件，配合六朝時期的聲律革新，遂造成一系列從節律到句法的形式新變，對後世的近體詩帶來深遠的影響。在語義的層面上，到了中古時期，構句原則有從「抽象原則」走向「臨摹原則」的趨勢，詞語的相對次序能夠暗含現實世界的事件順序，因此，詩人得以運用相應的句構，模擬真實的經驗，建構躍然紙上的詩歌空間，使得詩歌朝感官性、具體化的方向發展。 而在句式的層面，地點詞前移至句首，推進了動詞中介存現句的產生。到了南朝時期，存現句已成為與主謂句分庭抗禮的主要空間描寫句式，且兩者各自能孕育出不同的詩意。主謂句造就了以「物」為主的描寫視角，存現句則形成以「景」為主的視角。前者適宜敘事，並且以事理關係引發讀者的情感共鳴；後者善於融情於景，以感染式的抒情手法，使讀者興發感懷。 最後，因為主謂句與存現句的結構相異，其所展現的意象結構也截然不同，文中舉「上」、「下」、「入」、「出」等趨向動詞，將之置於兩種句式中，發現它們各自展現出不一樣的移動軌跡。因此證明形式即蘊含意義，當詩人對詩句進行倒置時，並非只出於格律要求或陌異化的嘗試，而是為了選擇更加符合詩歌情調的意象結構。 本文以空間描寫句式為切入點，發覺中古語法的變遷影響了詩歌的構句方式，而形式的改變，致使詩人建構出不同於前代的詩境。因此，我們得知，古、近體之間風格與景物關係的轉變，實與兩個時代間，語法背景的發展息息相關。

The description of space is an indispensable aspect of poetry. During the periods of Wei-Chin, Southern and Northern Dynasties, the syntactic construction of descriptions of space in Chinese poetry underwent a significant transformation, which influenced the artistic expression of poetry. As the grammaticalization of locative terms in Middle Chinese, poets started to widely use locative terms to create different layers of space, making the description of space in poetry more explicit and orderly. Moreover, the property of locative terms that is able to turn abstract things into locations also expanded the variety of the syntactic constructions of descriptions of space. Besides, in Middle Chinese, because nouns of location do not fix at the end of the sentence as they used to be, word order becomes more flexible. In the aspect of form, this development provides the conditions for poets to change and adjust words and rhymes, with the cooperation of the innovation of tonal prosody happened in this period, resulting in the evolution of poetic form. In the aspect of meaning, the principles of sentence formation of Chinese language moves from ‘abstract principles’ to ‘iconic principles,’ resulting in the development of sensualization and concretization in poetry writing. Furthermore, in the aspect of syntax, the shifting forward of the nouns of location encourages the expansion of the existential construction. In the period of Southern Dynasties, existential construction and subject-predicate construction become two main syntactic constructions of descriptions of space. On the one hand, the subject-predicate construction focuses on ‘object’ as its view of description, contributing to the ‘resonant’ mode of lyric. On the other hand, the existential construction focuses on ‘scenery’ as its view of description, contributing to the ‘infective’ mode of lyric. In short, existential construction and subject-predicate construction differ not only at their sentence formations but at the structures of images they embody. These differences fundamentally influence the creation of poetic expressions. This thesis takes the syntactic construction of descriptions of space as a starting point and presents how the transformation of syntax in Middle Chinese influenced the sentence formation in Chinese poetry, allowing the poets to create innovative artistic expressions that are different from their predecessors. Therefore, we can understand that the evolution between the Ancient and the Middle style poetry is in fact closely related to the development of syntax between two different periods in Chinese language.