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Please use this identifier to cite or link to this item: http://ir.ncue.edu.tw/ir/handle/987654321/17187

Title: 哀怨起騷人—騷體悲秋文學探析
Poet's Lamentation: The Investigation of Li Sao
Authors: 蘇慧霜
Contributors: 國文學系
Keywords: 悲秋;屈原;宋玉;騷體
Miserable;Qu Yuan;Song Yuh;Sao writing form
Date: 2006-03
Issue Date: 2013-08-28T07:30:06Z
Publisher: 中興大學文學院
Abstract: 「騷體」浪漫瑰麗的創作基調和淒美絕豔的辭采,一向長於幽婉哀怨的抒情模式,自屈原「悲夫秋風之動容」〈抽思〉,以滿懷悲憤而寫就「嫋嫋兮秋風,洞庭波兮木葉下」〈湘夫人〉的哀愁之後,宋玉師承屈原,「無愁亦自悲」(李商隱詩),作〈九辯〉:「悲哉秋之為氣也,蕭瑟兮草木搖落」,激越而強烈的悲劇色彩,貧士失職的詠嘆,使〈九辯〉的悲秋成了中國古典詩歌傳統的典範。漢武帝〈秋風辭〉延續了宋玉的哀怨之情。至於魏晉作家的作品,悲秋的題材擴大,作品形式則趨於短小,曹植的〈秋思賦〉強化「惜時」主題與嘆逝的哀愁,幽怨之情更形強烈。至了南北朝,梁元帝以秋意書懷的寫作,則帶有強烈的宮廷色彩,悲秋作品脫離作家個人身世的遭遇,已轉為宮廷遊戲的一種抒發而已。唐宋以後,騷體與賦的結合,不只在形式上創新,更延續騷體精神,李白、盧照鄰、李賀等人,祖述(延續)楚騷的清秋,是對屈原精神的繼承與回歸。北宋中期以後,政治的紛擾,使得騷體有了發揮的機運,宋代騷體作品中壯志難酬的悲憤,是對屈騷朗麗哀志的繼承,蘇軾等人以騷體寫成的秋思作品,不同於屈原的忠憤,不論形式或精神,均已是一種創新和突破了。
Li Sao is always famous for its romantic thought, melancholy ornate terms and creative works. Song Yuh inherited Qu Yuan who was a poet and statesman by the 4(superscript th) century B.C. and let "Jeou Bian" become a tradition paragon of Chinese classical threnody. From the Hang to Song Dynasty, it open ed a miserable style whether in verses or songs. The of the Emperor Wu of the Han Dynasty continued sad feeling of Song Yui. The works of the writer in the Wei Jin Six Dynasties, the more the topic of the sad autumn extended, the more the work form shortened. The of Cao Ze enhanced the topic of "cherishing time" and the sadness that sighs to die with more strong hidden bitterness. In the North and South Dynasty, the Emperor Leung's writing in which he expressed his deep feeling with autumn image was full of palace color. The sad autumn work was not written from the situation of the writer personal life experience. It was already turned into just a kind of expression of palace game. After the Tong and Song Dynasties, the combination of the Sao and Fu form was not only a creation on the form, but also a continuity of the Sao spirit. Li Bai, Lu Chao Lin, and Li Her etc. who describe (continue) the pure autumn of Chu Sao inherited and returned to Qu-Yuan's spirit. After the middle age of the North Song Dynasty, the confusion of the politics created the opportunity of the Sao development. The grief and which the life ambition is hardly bring about in the Sao works in the Song Dynasty was the inheritance of the Sao which expressing the ambition and bitterness with the beautiful works narrated by Qu-Yuan. Su Sheu's Sao works of autumn thoughts were differed from Qu-Yuan's ambition of loyalty and indignation. They were already innovation and breakthrough whether in the form or spirit.
Relation: 興大人文學報, 36: 23-54
Appears in Collections:[國文學系] 期刊論文

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