论杜甫诗中的士不遇主题

发布时间：2018-04-28 17:48

本文选题：杜甫 + 士不遇　；参考：《中央民族大学》2017年硕士论文

【摘要】：杜甫的士不遇主题诗歌历来受到重视,其中的叹老嗟卑、忠君忧国等内容也得到充分挖掘,但尚不能展现其完整面貌。文章关注杜甫不遇诗中对自我的认识和表现,认为杜甫对"士不遇"主题诗歌的"自炫""自疏"传统均有继承和突破,并拓展了不遇诗自我审视的视角。全文分三章讨论了杜甫不遇诗中的三种自我认识及表现情况。第一章考察杜甫的"高自称许"之作,认为杜甫在证明自己的入仕能力和德行方面充分继承了不遇诗的"自炫"传统,同时又发展了自己的特点。具体来说,在陈述性自炫中,多选择"历叙浮沉"的表达方式,而少用屈骚体的"贤愚对照"方式,以此走出单一化、情绪化、主观化的自炫模式,个人叙事体现了更强的自我关注意识,以更丰富、真切的方式表现自我肯定。借助咏物显耀自身时,则一面在形式上实现"物我分疏",从而远离传统的"自炫"格调;一面以意象选择、形象描写、主旨立意的大气慷慨,表现"大材"的自我认识和"大道"的信念,显露出更深沉的自负气概。第二章讨论杜甫的"自求疏远"之作,认为杜甫在出世选择中表达了对朝廷的怨怼、疏离情绪和对隐居生活中个人价值的肯定。首先,杜甫继承了初盛唐以"出走宣言"摆脱功名追求挫败感的流行写法,并在弃官后以更为丰富的宣告方式表达对个人隐居生活的肯定、满足和深层的愤懑之感;此外,杜甫通过有选择地使用典故,反复辨析其归隐性质,有意将其同高蹈的隐士区分开,表达对当权者的怨怼之情、避祸心理及终身不仕的决心,暗示怀才不遇的一面;最后,杜甫以语意的冲突调和心底深层对"君臣遇合"的渴望和"自求疏远"这一无奈选择之间的矛盾,既保持不遇士人的自尊自重,又表达对自己坎坷经历的伤怀之情。第三章讨论杜甫对不遇诗自我审视视角的拓展。除了高自称许和自求疏远,杜甫还立足现实人生的苦难之中,以超出个人利害得失的视角审视自我。首先,他嘲笑自己的懒拙性格,将自我肯定以贬词形式表达,带有更深刻的讽世意味,同时呈现不急于自我辩白的从容态度,体现理性的自我认识和对命运的担当;此外,他戏谑自己的无奈处境,通过袒露窘状和苦中作乐,勾勒出窘迫的自我形象,表现了对悲苦境遇的藐视和达观态度;最后,他描绘苦难中孤微渺小的自我形象,又以广阔的背景、美的意象、执著的心意力量,形成豪壮洒脱的风格,艺术性地表现对个人有限性与命运压迫性之间关系的认知,在阻滞中迸发自由的生命力量,实现了对失败结局的超越。
[Abstract]:Du Fu's poetry of "never met the theme" has always been attached importance to, among which the contents such as exclamation and inferiority, loyalty and concern for the country and so on have been fully excavated, but it has not yet been able to show its complete appearance. The article pays close attention to du Fu's understanding and expression of self in his poems, and holds that du Fu inherits and breaks through the tradition of "self-dazzling" and "self-thinning" in poetry on the theme of "no encounter", and extends the perspective of self-examination. The thesis is divided into three chapters to discuss three kinds of self-cognition and performance in du Fu's poems. The first chapter examines du Fu's "Gao self-proclaimed Xu", and thinks that du Fu has inherited the tradition of "self-effacing" and developed his own characteristics in proving his ability to enter the official position and conduct himself. Specifically, in the declarative selfie, the expression of "historical narration" is chosen more frequently than qu Sao's "virtuous and foolish comparison", so as to get out of the single, emotional and subjective self-dazzling mode. Personal narration reflects a stronger sense of self-concern and self-affirmation in a richer and truer way. With the help of chanting things to show off themselves, on the one hand, they realize the "separation of things from others" in form, thus away from the traditional "self-dazzling" style; on the other hand, they are generous in the atmosphere of image selection, image description, and purposive intention. The self-knowledge and belief of Da Cai reveal deeper conceit. The second chapter discusses du Fu's "self-seeking estrangement", and holds that du Fu expresses his resentment against the court, alienation and affirmation of his personal value in his seclusion in his choice of birth. First of all, du Fu inherited the popular style of seeking frustration in the early Tang Dynasty by "the Declaration of running away," and expressed his affirmation, satisfaction and deep feeling of anger about his seclusion in a richer manner after abandoning his official position. Through the selective use of allusions, du Fu discriminates over and over its hidden nature, and deliberately distinguishes it from the high-flying hermit, expressing his resentment against those in power, his psychology of avoiding mischief and his determination to stay away from his official duties for life, thus hinting at a side where talent is never met. Finally, Du Fu's contradiction between his deep desire for "courtiers meeting each other" and the helpless choice of "seeking estrangement" with his semantic conflict not only maintains the self-esteem and self-respect of scholars, but also expresses his sad feelings about his bumpy experiences. The third chapter discusses du Fu's expansion of his own perspective. In addition to Gao's estrangement, du Fu looks at himself from the perspective of personal gain and loss, based on the suffering of real life. First of all, he mocked his lazy personality, expressed his self-affirmation in derogatory form, with a deeper irony, and at the same time presented a calm attitude which did not rush to self-defense, reflecting rational self-knowledge and responsibility for fate; and, He joked at his helpless situation and, by revealing embarrassment and pleasure in suffering, drew up an embarrassing self-image, showing contempt for and attitude to misery; and finally, he depicted a tiny self-image in misery, On the other hand, with broad background, beautiful image, persistent mind force, form a magnificent and free style, artistically express the cognition of the relationship between individual finiteness and destiny oppression, and burst out the free life force in the block. To achieve the failure of the end of the transcendence.
【学位授予单位】：中央民族大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.22

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