《杜陵詩律五十一格》及其成書年代——關於杜詩研究起源的考察

Du Ling's Prosody: 51 Patterns and the Era of its Completion: An Investigation of the Origins of Du Fu Poetry Studies

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

本文對《杜陵詩律五十一格》（存錄於朝鮮本《木天禁語》，1555年刊。簡稱《五十一格》）進行考察結論如下。第一，該書爲詩格著作，但在選詩上具有七律專門、整首采錄、重視夔州詩等特點，同時從拗體、起承轉结等方面論詩，由此判斷該書非唐五代之作。第二，根據起承轉結内容的存在，對起承轉合起源于元代楊仲弘或宋代經義的學說發出質疑，提出元代的起承轉合論來源於以《五十一格》、“三氏杜詩注”爲代表的杜詩研究。三，根據范德機的律詩篇法十三格，以及爲范氏言明的十三格與《詩苑類格》的承繼關係提出：《五十一格》中從全詩角度分析句聯關係的論詩手法，可能在李淑《詩苑類格》（1039年）中已經存在，《五十一格》的成書可能在該書前後。第四，根據詩序的特殊排列，尤其是連章組詩的分離現象推測：本書没有受到王洙杜詩集的影響，從而否定了所有杜詩研究都以王洙本爲資料來源的傳統學說。第五，根據《五十一格》中前後注並存以及繼承篇“三氏杜詩注”的存在推測：此書在相當長的時期内受到了廣泛重視和研究。第六，通過與趙次公杜注比較得出：《五十一格》可能產生於經典式注釋方法運用於杜詩研究之前，其成書可能早於趙次公注及王洙注。

The results of my investigation conducted on the work entitled Du Ling’s Prosody: 51 Patterns (Du Ling shi lü wu shi yi ge) (as recorded in the Korean edition, Secrets of the Tang Imperial College〈Mutian jinyu〉, published in 1555, or called the 51 Patterns in short) are as follows. First, the book in question is an analysis in the forms and meter of regulated verse (shi). However, because of the following characteristics, this paper determines that it is not a work of the late Tang or early 5 Dynasties periods: in its choice of poems, the 51 Patterns focuses exclusively on qilü; it records poems in their entirety; it displays a preference for Du Fu’s Kuizhou period verse; and at the same time it discusses regulated verse in terms of such aspects as aoti, or non-conforming verse, and the qi cheng zhuan jie (introduction/ elucidation/ reversal/ conclusion) method of analysis. Second, judging from the presence of the qi cheng zhuan jie method, this paper questions the assumption that this method of analysis originated with Yang Zhonghong in the Yuan Dynasty, or with the Song Dynasty imperial examination system, and suggests that the origins of the qi cheng zhuan jie method lie in the early works of Du Fu poetry studies, the 51 Patterns and Three Du Fu Commentators” (San shi Du shi zhu) for example. Third, on the basis of the 13 patterns of regulated verse composition given by the Yuan poet Fan Deji (Fan Guo, 1272-1339) , which the poet himself explicitly states to be derived from Li Shu’s Typology of Poetry (Shi yuan lei ge, 1039) , this paper suggests that the critical method of analyzing the relationships between the lines of a poem from the standpoint of its entirety, may have already existed in Typology of Poetry; therefore the 51 Patterns was possibly completed around the same time as the Typology. Fourth, on the basis of the peculiar ordering of the poems in the 51 Patterns, especially in its separation of some pieces which belong to a series of poems under the same title in later collections, this paper speculates that the work was not influenced by Wang Zhu’s Collected Poems of Du Fu ( Wang Zhu Du shi ji, 1039; published in 1059) , and thus it contradicts the traditional theory that all Du Fu Poetry studies take the Wang Zhu collection as their source material. Fifth, on the basis of the coexistence of both original and later commentaries in this work, as well as the existence of the subsequent piece, “Three Du Fu Commentators”, which carries on the work of the 51 Patterns, this paper speculates that the 51 Patterns enjoyed a relatively long period of extensive serious consideration and study. Finally, through a comparison with Zhao Cigong’ s Du Fu commentaries, this paper concludes that the 51 Patterns may have been produced before the standard classical method of annotation was applied to Du Fu poetry studies.