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本文從討論盛、中唐之交的建中、貞元時代與劉宋、南齊時代的思想風氣不同入手,强調韋應物所謂“吏隱”是吏與隱二元關係之外的中道,是須經身心修養所企致之境界,其特别彰顯於詩人或作於郡齋或作於林水的“閑居”之作中。“閑居”開啓了詩人遊乎草木雨雲,霽月光風的生命世界。“閑居”是一種生命存有的姿態,一種“道行”的身體實踐。本文重點討論了其中兩種面向。首先,與刻鏤着歷史創痛的初期回憶詩作相比,“閑居”之作體現了詩人如何自歷史時間中解脱,融入自然時間而任運自在。其次,“閑居”與“吏隱”又令韋詩在空間書寫中忽略和虛化方域。在此,以空間之疏曠體現了詩人性情之疏散,而多重的甚至歧義的視境更直接體現了其神遊於兩重世界的“吏隱”者心迹。
This article starts with discussing the relationship between Sheng, Zhongzheng, Zhenyuan and Liu Song during the transitional period of the Mid-Tang Dynasty and the ideological style of the NanQi era, emphasizing that WeiYingwu’s so-called “official hidden” is a medium- It is the realm of spiritual and spiritual fulfillment which is especially manifested in the works of poets or for leisure in forests or for forests. “Hometown ” opened the poet tour as vegetation rain clouds, moonlight wind life world. “Freelander ” is a gesture of existence, a kind of “practice”. This article focuses on two of them. First of all, compared with the early recollections of the poem engraved with historical pains, the poet’s poetic work shows how the poet has freed himself from historical time and is comfortable with natural time. Second, “Freelander ” and “official hidden ” and let Verse in space writing to ignore and virtual square. Here, the spatial evacuation reflects the evacuation of the poet’s temperament, and the multiple or even ambiguous glances more directly reflect the mentality of the “official implies” who travel in two worlds.