明中後期對白居易詩接受向度的承接和轉變

Succession and Change in the Acceptance of Bai Juyi’s Poetry in the Mid to Late Ming Dynasty

Abstract

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

明中後期150餘年間對白詩接受的發展歷程，大致表現出先抑後揚、抑揚遞變的否定之否定的特點。承接高棅的唐詩觀，前後七子等詩人群體崇盛唐而抑中晚，對白居易詩採取鄙夷的態度，影響所及，蔚然成風。與此同時，唐寅等吳中詩人則以其對白詩的熱情讚賞和創作效法，與七子派抗衡。稍後何良俊、胡應麟等人之稱道白詩，顯示出由否定到認肯的顯著轉變。而至萬曆以後，袁宗道等公安派詩人力崇白詩，展示出對七子派等主流思潮的强力反撥和接受向度的大的轉變。明末許學夷、陸時雍等人承前再轉，或從詩史角度評白詩之“大變”、“啓宋人門戶”，或以神韻爲宗，直斥元白“以潦倒成家”、“練皆降格爲之”，從而既爲明代白詩之詮評畫了一個句號，又給予清人葉燮、王士禛等人的唐詩觀以直接的啓迪和影響。

Over 150 years, the Mid to Late Ming period (early 16^th to mid 17^th century) witnessed a change from criticism to high praise in the appraisal of Bai Juyi’s (772-846) poetry. The early attitude was the result of a trend initiated by the Former Seven Masters and Later Seven Masters of the Ming, who in turns continued Gao Bing's (1350-1423) accolade of High Tang poetry and his contempt for Mid and Late Tang poetry. In this fashion, Bai Juyi’s poetry was widely demeaned. In the same period there was some opposition from intellectuals such as Tang Yin (1470-1523) and others from the region of Wu (modern Jiangsu and Zhejiang provinces). They gave considerable credit to Bai's poetry and emulated Bai's style in their own compositions. Later, He Liangjun (1506-1573) and Hu Yinglin (1551-1602)'s praise of Bai Juyi’s poetry marked a turning point from criticism to admiration. After the Wanli reign period (1573-1620), some poets of the Gong'an school, such as Yuan Zongdao (1560-1600), wholeheartedly promoted Bai’s poetry. This was in stark opposition to the mainstream thought and poetic taste advocated by the school of the Seven Masters. At the end of the Ming Dynasty, critics such as Xu Xueyi and Lu Shiyong carried on the polemics by expressing different views on Bai's poetry. Some of them defined Bai as a “poet-historian” who initiated a “big change” that “opened up a new gateway for Song Dynasty poets.” In their doctrinal pursuit for “divine aesthetic effect” (shenyun), some harshly criticized Yuan Zhen (119-831) and Bai Juyi's poetry for its simple, coarse style, which represented poor treatment of poetry composition. On the one hand, these opinions marked the end of Ming dynasty critique of vernacular poetry; on the other hand, they had a direct influence on and gave rise to a new view of Tang poetry advocated by Qing critics such as Ye Xie (1627-1702) and Wang Shizhen (1637-1711).