其他篇名 Alternative Title
Personal creation or intertextuality? A study of Yuan Huang-tao’s poetics
摘要 Abstract
文學作為文化的一環，其在當世的傳播或者後世的流傳勢必要依賴口語或文字。語文作為一種符徵，是傳播者的工具，但文學作品是作家個性與心靈的表現，因此表現作品的文字自然講求獨特性，纔能突顯作家之一空依傍，露才呈性；其次，文學中各種文類也有其傳统，作家不可能自外於文學傳统，作家作品必須放在文學傳统中纔能評估其作品的價值與個人才性。這就為作家帶來一個兩難處境，一方面作家要獨抒性情，一方面又要兼顧繼承傳统，如何可能？明代公安派詩人袁宏道可能是這種現象中最值的探討的詩人之一，他生在明代前後七子的擬古與復古的文學風氣之後，不滿於前七子李夢陽、何景明等與後七子李攀龍、王世貞等“文必秦漢，詩必盛唐”之詩文理論，於是提出“獨抒性情”之説。問題是前後七子主張“文必秦漢，詩必盛唐”，漢唐詩文確實是傳统中的經典，袁宏道真的能一空依傍，字字從心中湧出，篇篇都是獨創嗎？這是本文所欲探究的主題。
Literature is not only a matter of personal creation but also a matter of tradition and heritage. This essay intends to explore the relationship between creation and tradition, especially in the case of Yuan Huang-tao, a man of letter in Ming dynasty. Yuan was born after the prime time of the imitation and restoration of the ancient style when poems were only the reflection of those written by the masters of Han and Tang dynasties. The so-called imitation school was composed of a group of poets such as Li Meng-yang, Ho Ching-ming, Li Pan-lung, and Wang Shih-chen. Yuan was not satisfied with this trend, and he proposed the theory that poetic writings must be free from traditions and originated from one’s own heart as a personal creation. However, is it possible that a poem is entirely created out of nothing? This is the question that this article will address.
關鍵詞 Keywords
袁宏道, 獨抒性情, 互文性, 復古, 詩學, Yuan Huang-tao, personal creation, intertextuality, restoration of the ancient style, poetics
語言 Language
Chinese (Traditional)
版權聲明 Copyright Statement
香港嶺南大學中文系(編)，上海古籍出版社(出版)
共享創意條款 Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License
參考書目格式 Recommended Citation
蔡振念 (2019)。獨抒性情與文本互涉的辯證 : 袁宏道的詩論與詩歌。《嶺南學報》，復刊 第十二輯，頁207-253。檢自 https://commons.ln.edu.hk/ljcs_new/vol12/iss1/9