唐代文人《庄子》文学接受研究
发布时间：2018-09-03 10:55
【摘要】：《庄子》给后世文人提供了困境中的处世智慧,而唐代文人《庄子》文学接受,既从思想上挹取其处世智慧,又在文学创作方面将其作为效法的典范。本论文立足接受者的生命遭际展开研究。全文分为六章。第一章探讨唐代文人《庄子》文学接受的文化语境,并概说其接受状况。时代文化语境对接受行为起促进作用。在唐代,道教地位上升,作为道教经典的《庄子》再次兴盛,而且《庄子》成为道举科考的必习之典。唐代儒释道三教鼎立,并逐渐融合,这使得唐代文学中的《庄子》接受出现援儒入庄、援佛入庄的现象。不同时期不同遭际以及创作风格的文人和《庄子》文本产生了不同的契合点。第二章论述初盛唐隐逸文人对《庄子》的接受。庄子本人就是一位名隐者,《庄子》中也塑造了众多的隐者形象,阐发了全生保性、陆沉心隐的隐逸思想。王绩、孟浩然、王维分别代表了隐逸的主要三种类型:激愤而隐、适性而隐、避世朝隐。处于政权交替时期的王绩,不为世用,心归《庄子》,激愤而隐,以委运随化的生存态度来平息生命的激愤。他构筑了一个超越尘俗的理想酒乡,逍遥于此,以全生保性。孟浩然拒绝了来之不易的入仕机会,因为放性求真的他不愿受到束缚。他的诗文多采撷《庄子》语词,表意上追踪《庄子》,阐释庄理,体现了多向度的接受特征。孟诗风格冲淡,接受了《庄子》保持素朴本色,以淡为美的审美情趣。王维仕宦经历坎坷,吏隐于朝,退往内心的修持。他的诗歌描写了众多的无我之境,以物观物,去除了自我中心点,接受了《庄子》与自然化而为一的思想。他庄禅双修,空明澄澈的诗境既有佛禅的印迹,又是接受《庄子》的结果。初盛唐时期,还有其它不少的隐逸文人,他们身隐林泉,在《庄子》中寻找慰藉心灵的智慧,并保持自我的天然本性。第三章探讨浪漫文人李白对《庄子》的接受。李白化用了《庄子》的文学形象,最为典型的就是大鹏形象的再塑。李白笔下的大鹏具有气势雄伟、自由逍遥、志向远大的精神内涵,结合了他自己的生命体验。他的诗文呈现出了一个自大自足的自我形象,表现出了强烈的独立意识,甚至被视为狂傲,这都是李白的大鹏形象人格化精神的表现,是对《庄子》的进一步阐释。李白诗文想象奇特,夸张惊人;境界阔大,气势豪放;意接词断,跳荡奔放,其创作的审美风格与《庄子》相类。第四章探讨中唐贬谪文人对《庄子》的接受。贬谪文人面对贬谪之后的种种困境,需要适当修正自我的处世品格。他们以"愚"处世,将先前凌厉的生命锋芒潜藏起来,改以柔性隐忍、庸愚无用,并在愚中寓慎,追慕人性愚朴,疏离世俗纷争,全身远害,获得心灵的快乐,这显然来自于《庄子》。面对哀痛的情绪,贬谪文人有两种反应,其一就是排遣、淡释悲戚之情,最为典型的就是柳宗元的山水游记。在贬地山水中,他体会到了生命逍遥自由的乐趣,并进入《庄子》与"道"冥合的境界,同时又难掩悲戚的生命情绪。其二是完全挣脱贬谪之悲,最为典型的是白居易的中隐。他疏离了世俗是非,创作了大量的闲适诗来吟咏心灵世界的满足和精神的快适,将《庄子》的逍遥精神延伸到了日常,还赋予睡眠以心安无虑的庄学内涵。在文学创作方面,韩愈"不平则鸣"的文学理论和《庄子》论"情"有一定的联系,贬谪文人凄楚哀伤的生命情绪也在其创作中悲"鸣"而出,是《庄子》情论的具体例证。他们以陌生化的眼光在诗文中戏谑嘲讽,解构哀戚,在忧愤中实现一种特殊的旷达解脱,这种戏谑为文的态度和《庄子》不无关系。寓言的戏谑功能和寄意托志的灵活性,使得贬谪文人以敏感的身份选择了它,并把效仿的目光对准了大量创作寓言的《庄子》。他们采用《庄子》模式的故事框架,或者阐释庄理,并以寓言自况,其寓言的形象类型也接受了《庄子》。第五章论述鬼才文人李贺对《庄子》的接受。李贺一生都在期待和孤愤中度过,现实不能使他的心灵自由舒展,他极其需要冥想的空间。在文学世界中,他接受了《庄子》超越性的心"游"方式。"游"于鬼魅之域,他寻找生命的知音,抒忧释愤;"游"于天国世界,他寄托自己美好的理想。李贺创作心理幽凄阴冷,他在诗歌中喜欢选用冷色调的语词,和庄子的创作心理冥合一致。他也不愿意关注世俗的"真"与"假",只关注自己的感受,追求感受上的"神似",其诗歌重神略形,也走在《庄子》形神之论的延长线上。第六章探讨晚唐文人对《庄子》的接受。晚唐文人激愤于混乱的时代图景,接受了《庄子》的愤世讽刺。他们展现了唐代"天下沉浊"之乱象,讽刺残暴的君主,哀痛个人命运之"非遭时",但激烈的愤恨情绪背后却流淌着感伤的意绪。唐代末期,文人的心态呈现出脆弱敏感,隐幽细约,其创作追求一种意蕴深曲的审美风格,发展了《庄子》的言意之辩。他们主张文以意为主,追求象外之象、景外之景、韵外之致,其诗歌创作上也在努力实践这一主张。李商隐诗歌经常表达一种隐幽深微的意绪,采用离形取神的写法,更深化了《庄子》的言意之辩。晚唐世风衰颓,文人们拒绝乱世中权利的追逐,也拒绝逐利漩涡的沉沦,占据其生命的是《庄子》的避世情怀。晚唐文人使其精神意趣回归自由疏散的状态,以无用来保生全性,对抗世俗。他们给日常生活赋予文人品格,使之呈现雅化的文化情趣,增添了一份《庄子》式的精神逍遥。但避世情愫的生发却是被动无奈选择的结果,与之相随的是不可避免的怨愤之情,这种复杂的感情叠加也和《庄子》相一致。
[Abstract]:Chuang Tzu provides the wisdom of the literary world in the predicament for the later generations, while the literary acceptance of Chuang Tzu in the Tang Dynasty not only takes the wisdom of the literary world from the ideological point of view, but also takes it as a model of imitation in literary creation. In the Tang Dynasty, the status of Taoism rose, as a Taoist classic, Chuang Tzu flourished again, and Chuang Tzu became a necessary part of the imperial examination of Taoism. The second chapter discusses the acceptance of Chuang Tzu by the hermit writers in the early Tang Dynasty. Chuang Tzu himself is a famous hermit. In Chuang Tzu, many hermit images are created and the whole life preservation is expounded. Wang Ji, Meng Haoran and Wang Wei respectively represent the three main types of reclusion: indignation and seclusion, suitability and seclusion, and avoidance of seclusion. Meng Haoran refused the hard-won opportunity to enter an official position because he did not want to be bound by the unrestrained pursuit of truth. His poems and essays collected many words from Zhuangzi, traced Zhuangzi ideographically, explained Zhuangli, and embodied the characteristics of multi-dimensional acceptance. Wang Wei's poems depict a lot of selfless realms, with the view of things, removing the point of self-centeredness, and accepting the idea of "Chuang Tzu" and naturalization as one. His double meditation of Chuang Tzu and Zen, the empty and clear poetic realm, is both the impression of Buddhism and Zen and the result of accepting "Chuang Tzu". In the prosperous Tang Dynasty, there were many other reclusive scholars, who hid themselves in Lin Quan, sought spiritual comfort in Zhuangzi, and maintained their natural instincts. Chapter Three explored the acceptance of the romantic scholar Li Bai to Zhuangzi. Li Bai's poems and essays show a self-conceited self-image, a strong sense of independence and even arrogance, which is the embodiment of Li Bai's personalized spirit of the ROC image and a further interpretation of Zhuangzi. Chapter Four discusses the acceptance of Chuang Tzu by the relegated scholars in the Middle Tang Dynasty. The relegated scholars face various difficulties after the relegation, and need to correct their own character properly. The sharp edge of life lurks in the dark and turns to be flexible and forbearable. It is useless to be cautious in foolishness, to pursue human nature foolishly, to alienate from secular disputes, to suffer all over the body, and to gain happiness in the soul. This obviously comes from Chuang Tzu. Yuan's travels to the mountains and rivers. In the mountains and rivers of the devalued land, he realized the joy of free and unfettered life, and entered the realm of "Chuang Tzu" and "Tao". At the same time, he could not hide his sorrowful mood of life. The world's contentment and spiritual rapidity extend Chuang Tzu's spirit of leisure to everyday life and endow sleep with the connotation of a carefree Chuang Tzu. In literary creation, Han Yu's literary theory of "unfairness leads to song" and Chuang Tzu's theory of "emotion" have a certain connection, and the life mood of depreciating literati's sorrow and sorrow is also reflected in his creation. Zi > the concrete example of the sentiment theory. They used the Unfamiliarized eye to ridicule in poetry, deconstruct grief, and achieve a special kind of broad-minded relief in sorrow and indignation. This kind of attitude of playful writing has nothing to do with Chuang Tzu. The playful function of fables and the flexibility of intention support make the derogatory literati choose it in a sensitive identity and imitate it. The fifth chapter discusses the acceptance of Zhuangzi by Li He, a scholar of ghosts and talents. Li He spent his whole life expecting and indignant, and the reality can not make his mind. In the literary world, he accepted the transcendental way of "traveling" in Chuang Tzu's mind. "traveling" in the realm of ghosts and ghosts, he sought the intimate friend of life, expressed his grief and dispelled his indignation; "traveling" in the world of heaven, he placed his beautiful ideal in his mind. He was not willing to pay attention to the secular "truth" and "falsehood", but only to his own feelings, pursuing the "miracle" of feeling. His poems lay stress on the spirit and outline, and also walked on the extension line of the theory of "Chuang Tzu". Chapter 6 explores the literati's acceptance of "Chuang Tzu" in the late Tang Dynasty. At the end of the Tang Dynasty, the literati's mentality was fragile, sensitive, subtle and delicate, and their creation pursued a deep aesthetic style. They advocated that literature should be based on meaning, pursuing the image outside the scene, the scene outside the scene, the rhyme outside the rhyme, and they also tried hard to practice this idea in their poems. Li Shangyin's poems often expressed a subtle mood, and adopted the writing method of taking the spirit out of form, which deepened the debate on the meaning of Zhuangzi. They refused the pursuit of rights in chaotic times, and refused the decay of the whirlpool of profit-seeking. They occupied their lives with Chuang Tzu's feelings of avoiding the world. The literati in the late Tang Dynasty returned their spiritual interests to the state of free evacuation, which was not used to preserve their lives and to fight against secularity. The spirit of Zi > is free and unfettered. But the generation of avoiding worldly feelings is the result of passive and helpless choices, accompanied by inevitable resentment. This complex emotional superposition is also consistent with Zhuangzi.
【学位授予单位】：陕西师范大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：I206.2
，
本文编号：2219783
[Abstract]:Chuang Tzu provides the wisdom of the literary world in the predicament for the later generations, while the literary acceptance of Chuang Tzu in the Tang Dynasty not only takes the wisdom of the literary world from the ideological point of view, but also takes it as a model of imitation in literary creation. In the Tang Dynasty, the status of Taoism rose, as a Taoist classic, Chuang Tzu flourished again, and Chuang Tzu became a necessary part of the imperial examination of Taoism. The second chapter discusses the acceptance of Chuang Tzu by the hermit writers in the early Tang Dynasty. Chuang Tzu himself is a famous hermit. In Chuang Tzu, many hermit images are created and the whole life preservation is expounded. Wang Ji, Meng Haoran and Wang Wei respectively represent the three main types of reclusion: indignation and seclusion, suitability and seclusion, and avoidance of seclusion. Meng Haoran refused the hard-won opportunity to enter an official position because he did not want to be bound by the unrestrained pursuit of truth. His poems and essays collected many words from Zhuangzi, traced Zhuangzi ideographically, explained Zhuangli, and embodied the characteristics of multi-dimensional acceptance. Wang Wei's poems depict a lot of selfless realms, with the view of things, removing the point of self-centeredness, and accepting the idea of "Chuang Tzu" and naturalization as one. His double meditation of Chuang Tzu and Zen, the empty and clear poetic realm, is both the impression of Buddhism and Zen and the result of accepting "Chuang Tzu". In the prosperous Tang Dynasty, there were many other reclusive scholars, who hid themselves in Lin Quan, sought spiritual comfort in Zhuangzi, and maintained their natural instincts. Chapter Three explored the acceptance of the romantic scholar Li Bai to Zhuangzi. Li Bai's poems and essays show a self-conceited self-image, a strong sense of independence and even arrogance, which is the embodiment of Li Bai's personalized spirit of the ROC image and a further interpretation of Zhuangzi. Chapter Four discusses the acceptance of Chuang Tzu by the relegated scholars in the Middle Tang Dynasty. The relegated scholars face various difficulties after the relegation, and need to correct their own character properly. The sharp edge of life lurks in the dark and turns to be flexible and forbearable. It is useless to be cautious in foolishness, to pursue human nature foolishly, to alienate from secular disputes, to suffer all over the body, and to gain happiness in the soul. This obviously comes from Chuang Tzu. Yuan's travels to the mountains and rivers. In the mountains and rivers of the devalued land, he realized the joy of free and unfettered life, and entered the realm of "Chuang Tzu" and "Tao". At the same time, he could not hide his sorrowful mood of life. The world's contentment and spiritual rapidity extend Chuang Tzu's spirit of leisure to everyday life and endow sleep with the connotation of a carefree Chuang Tzu. In literary creation, Han Yu's literary theory of "unfairness leads to song" and Chuang Tzu's theory of "emotion" have a certain connection, and the life mood of depreciating literati's sorrow and sorrow is also reflected in his creation. Zi > the concrete example of the sentiment theory. They used the Unfamiliarized eye to ridicule in poetry, deconstruct grief, and achieve a special kind of broad-minded relief in sorrow and indignation. This kind of attitude of playful writing has nothing to do with Chuang Tzu. The playful function of fables and the flexibility of intention support make the derogatory literati choose it in a sensitive identity and imitate it. The fifth chapter discusses the acceptance of Zhuangzi by Li He, a scholar of ghosts and talents. Li He spent his whole life expecting and indignant, and the reality can not make his mind. In the literary world, he accepted the transcendental way of "traveling" in Chuang Tzu's mind. "traveling" in the realm of ghosts and ghosts, he sought the intimate friend of life, expressed his grief and dispelled his indignation; "traveling" in the world of heaven, he placed his beautiful ideal in his mind. He was not willing to pay attention to the secular "truth" and "falsehood", but only to his own feelings, pursuing the "miracle" of feeling. His poems lay stress on the spirit and outline, and also walked on the extension line of the theory of "Chuang Tzu". Chapter 6 explores the literati's acceptance of "Chuang Tzu" in the late Tang Dynasty. At the end of the Tang Dynasty, the literati's mentality was fragile, sensitive, subtle and delicate, and their creation pursued a deep aesthetic style. They advocated that literature should be based on meaning, pursuing the image outside the scene, the scene outside the scene, the rhyme outside the rhyme, and they also tried hard to practice this idea in their poems. Li Shangyin's poems often expressed a subtle mood, and adopted the writing method of taking the spirit out of form, which deepened the debate on the meaning of Zhuangzi. They refused the pursuit of rights in chaotic times, and refused the decay of the whirlpool of profit-seeking. They occupied their lives with Chuang Tzu's feelings of avoiding the world. The literati in the late Tang Dynasty returned their spiritual interests to the state of free evacuation, which was not used to preserve their lives and to fight against secularity. The spirit of Zi > is free and unfettered. But the generation of avoiding worldly feelings is the result of passive and helpless choices, accompanied by inevitable resentment. This complex emotional superposition is also consistent with Zhuangzi.
【学位授予单位】：陕西师范大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：I206.2
，
本文编号：2219783
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