《瀛奎律髓》評選陸游詩研究

Abstract

本文以方回《瀛奎律髓》所評選的陸游詩為核心，探討《瀛奎律髓》的選詩特點、方回對陸游詩的評價和定位，並藉由分析羅椅《澗谷精選陸放翁詩集》、劉辰翁《須溪精選陸放翁詩集》這兩部宋元的陸游詩選本，以及李蔉《宋藝圃集》、潘是仁《宋元詩》、曹學佺《石倉歷代詩選》這三部明代的宋詩選本的選詩情形，照映出《瀛奎律髓》在陸游詩選本脈絡中的時代意義。 「方回對陸游詩的評論」一章，先透過統計、歸納，了解方回實際選詩的情形，然後透過分析詩評、詩例，了解方回如何評判陸游詩。方回擇取陸游詩時偏好相當明顯：類型方面偏重陸游的閒適詩，方回對閒適詩有濃厚興趣，且對陸游的閒適作品有相當的共鳴，進而大量選錄；年代方面偏重陸游的晚期詩，他特別關注長壽的詩人，且欣賞陸游晚期作品成熟老練、不忌諱談論疾病生死等表現；體例方面偏重陸游的七言律詩，放翁七律的數量於《瀛奎律髓》中居冠，《瀛奎律髓》實比明清的詩評更早反映出人們對陸游七律的推崇。而方回認為陸游詩兼有盛唐、中唐、晚唐、江西等等風格，卻未詳細解釋陸游詩如何體現這些特質。本文嘗試系聯方回的詩評和唐宋詩的特質，指出陸游詩有初唐之流麗綿密，盛唐之壯浪宏闊，晚唐之對偶工切，其中唐特質則可能與善言風物、點化模仿中唐詩有關。陸游與杜甫之間的關聯僅限於詩藝的傳承，雖歷來詩家總是以陸游的忠愛精神比擬杜甫，這樣的聯繫在《瀛奎律髓》中卻不被肯認。陸游詩之善於用事及瘦健是最接近江西格調的特質，而「熟」是陸游詩的代表特色，大抵表現為自然平易、流暢穩妥的寫作風格，是陸游詩與江西詩風的最大分野。 「方回對陸游詩的定位」一章，結合方回的詩論體系與方回評選陸游詩的情形，析論陸游在《瀛奎律髓》中的地位，同時透過方回私領域的詩文，了解陸游對於方回的重要意義。在方回的詩論體系中，格高與熟並俱的杜甫為最高典範，黃庭堅、陳師道等人以格高位居上等，梅堯臣、張耒以熟位居中等，姚合、許渾以格卑語陋居於下等。方回認為學習陸游詩的重要性次於梅、張，結合陸游詩熟的特質，當居於中等偏後的位置。但陸游的總選詩量高居全書第二，與其中等的地位殊不匹配，發生了嚴重的錯位。本文認為，陸游詩和江西之「格高」相去甚遠，又具有鮮明的晚唐特質，與方回的論詩策略不合，是以只能居於中等，且不被標舉為學詩典範。另一方面，由於陸游詩龐大的作品基數、寬鬆的選錄條件和方回對陸游閒適詩的偏愛，使陸游詩在《瀛奎律髓》中佔有超越其中等地位的可觀份量。而方回在私領域的詩文中，對於陸游實抱有遠勝杜甫、黃陳的親密情感，時時就守嚴、高壽、詩萬首等方面向陸游致意並引以自比。這種崇慕之情超出了詩藝的範圍，在《瀛奎律髓》沒有太多顯露，卻很有可能影響其選詩態度。 「《瀛奎律髓》評選陸游詩的時代意義」一章，透過分析宋元明的陸游詩選本，串聯橫向與縱向的選本脈絡，繼而標定《瀛奎律髓》在此脈絡中的位置及價值。因《劍南詩稿》卷帙龐大流通不易，羅椅、劉辰翁、方回三人的選詩成為元明欣賞陸游詩的重要窗口。類型方面，宋元選本首重閒適詩，次重旅行、宦情詩，《瀛奎律髓》強化了欣賞閒適詩的時代取向，卻也嚴重限縮了其他類型的表現空間。年代方面，宋元選本首重中期詩、次重晚期詩，《瀛奎律髓》特重晚期詩的傾向有異於時代趨勢，在早期、中期留下大塊空缺。體例方面，宋元選本首重七律、次重古詩，《瀛奎律髓》突顯了重視七律的時代潮流，但限於選本體例無法呈現陸游其他體裁的風貌。明代選本受到劉辰翁、羅椅較深的影響，惟潘是仁《宋元詩》幾乎將方回的選詩全部納入集中，選詩傾向與李蔉《宋藝圃集》、曹學佺《石倉歷代詩選》有較大的差異。 過去學者多著重於探討《瀛奎律髓》中的唐代體派及江西詩派體系，對於師出曾幾門下卻又遊走在三唐之間的陸游，僅以詩藝多變論之，也未能完善地解釋為何陸游分明不是方回推舉的學習對象，卻能擁有龐大的收詩量。本文深入詮解陸游詩與唐、宋詩歌的關係，以及錯位現象發生的原因。而在陸游詩選本脈絡中，《瀛奎律髓》的選詩雖不及羅椅《澗谷精選陸放翁詩集》、劉辰翁《須溪精選陸放翁詩集》全面，但它提供讀者更宏觀的視角欣賞陸游詩，同時也一定程度地影響了明代選本的面貌。

This study takes Lu You's poems selected by Fang Hui's Yingkui Lusui as the core, discusses the characteristics of the selected poems in Yingkui Lusui and Fang Hui's evaluation and redefining legency of Lu You's poems, and analyzes two anthologies of Lu You's poems in the Song and Yuan Dynasties, Luo Yi's The Anthology of Jiangu Selection of Lu Fangweng's Poems and Liu Chenweng's The Anthology of Xuxi Selection of Lu Fangweng's Poems, as well as three Song selected poems in the Ming Dynasty, Li Gun's Songyi Puji, Pan Shiren's Song and Yuan Poems, and Cao Xuequan's Selected Poems of Shicang, reflecting the significance that Yingkui Lusui played in the context of Lu You's poetry anthology. In the chapter 'Fang Hui's Comments on Lu You's Poems', first, through statistics and induction, to understand Fang Hui's actual selection of poems, and then through the analysis of poetry reviews and poetry examples, to understand how Fang Hui judged Lu You's poems. Fang Hui's preference in selecting Lu You's poetry is quite obvious: in terms of genre, he prefers Lu You's leisure poetry; in terms of age, he prefers Lu You's late poetry; in terms of style, he prefers Lu You's seven-character octave. Fang Hui believed that Lu You's poems had the styles of the prosperous Tang, the middle Tang, the late Tang, Jiangxi, etc., but failed to explain in detail how Lu You's poems embodied these characteristics. This chapter thoroughly analyzes the characteristics of Tang poetry in Lu You's poetry, explains the relationship between Lu You and Du Fu, and points out the characteristics of Song poems how Lu You's poems close to and deviated from Jiangxi poetry. The chapter 'Fang Hui's Definition of Lu You's Poems', combined with Fang Hui's poetic theory system and Fang Hui's selection of Lu You's poems, analyzes Lu You's position in Yingkui Lusui, and at the same time, through Fang Hui's specific poetry, to understand the significance of Lu You to Fang Hui. In Fang Hui's poetic theory system, Du Fu is the highest paradigm in both literary style and proficiency, Huang Tingjian, Chen Shidao and others rank as high in literary style, Mei Yaochen and Zhang Lei rank as middle in proficiency, Yao He and Xu Hun with rank as inferior in literary style and proficiency. Fang Hui believes that the importance of learning Lu You's poetry is second to that of Mei Yaochen and Zhang Lei. Combined with the characteristics of Lu You's poetry maturity, it should rank as below middle. However, Lu You's total selection of poems ranks second in the book, which is mismatched with his middle position, and a serious dislocation has occurred. The study points out that literary style of Lu You's poetry is vastly inferior to that of Jiangxi's poetry, and has distinct characteristics of the late Tang Dynasty, which is inconsistent with Fang Hui's strategy of discussing poetry, and therefore it can only rank as middle, not suitable for a role model to learn poetry. On the other hand, due to Lu You's huge base of poetry, loose selection conditions and Fang Hui's preference for Lu You's leisure poems, Lu You's poetry holds a considerable weight beyond its middle ranking in Yingkui Lusui. In Fang Hui's poetry in the private field, he has a much more intimate feeling for Lu You's poems than Du Fu, Huang Tingjian and Chen Shidao. This admiration goes beyond the scope of poetry, although it is not revealed much in Yingkui Lusui , but it is likely to affect his attitude towards poetry selection. In the chapter 'The Significance of the Selection of Lu You's Poems in Yingkui Lusui', by analyzing the anthologies of Lu You's poems in the Song, Yuan and Ming Dynasties, the horizontal and vertical contexts of the selected texts are connected, and then the status and value of Yingkui Lusui in this context are determined. Due to the huge volume of Jiannan Poems, it was not easy to circulate, and thus, the selection of poems by Luo Yi, Liu Chenweng and Fang Hui became an important approach to appreciate Lu You's poetry in Yuan and Ming Dynasties. In terms of genres, the Song and Yuan Dynasties selected the leisure poems firstly, and the emphasis on travel and mood of being an official finally. Yingkui Lusui strengthened the orientation of the times for appreciating leisure poems, but also severely limited the performance of other types. In terms of age, the Song and Yuan Dynasties selected the poems in the middle period firstly and the poems in the late period secondly. The tendency of Yingkui Lusui to emphasize the late poems is different from the trend of the times, leaving a large vacancy in the early and middle periods. In terms of style, Song and Yuan Dynasties selected the seven-character octave firstly and classical Chinese poetry secondly. Yingkui Lusui highlights the trend of the times that attaches particular importance to the seven-character octave. However, due to the limitations of poetry selection, the style of other genres of Lu You cannot be presented. The selected works of the Ming Dynasty were deeply influenced by Liu Chenweng and Luo Yi, while Pan Shiren's Song and Yuan Poems almost included all Fang Hui's selected poems. The tendency of selecting poems is quite different from those of Li Gun's Songyi Puji and Cao Xuequan's Selected Poems of Shicang Past Dynasties. In the past, scholars mostly focused on discussing the Tang Dynasty style and the Jiangxi Poetry system in Yingkui Lusui. For Lu You, who took Zeng Ji as teacher but wandered between the three Tangs, they only talked about the change of poetic skills, rather than perfectly explained why Lu You is clearly not the object of study recommended by Fang Hui, but he has a huge amount of poems. This study deeply interprets the relationship between Lu You's poetry and Tang and Song poetry, as well as the reasons for the dislocation phenomenon. In the context of Lu You's selected poems, although the selection of poems in Yingkui Lusui is not as comprehensive as Luo Yi's Jiangu Selected Lu Fangweng Poems and Liu Chenweng's Xuxi Selected Lu Fangweng Poems, it provides readers with a broader perspective to appreciate Lu You's poetry, but also affects the anthology selection of the Ming Dynasty to a certain extent.