南華大學機構典藏系統:Item 987654321/20700
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    Please use this identifier to cite or link to this item: http://nhuir.nhu.edu.tw/handle/987654321/20700


    Title: 嚴滄浪其人及其詩歌研究
    Other Titles: A Study of Yan Canglang and His Poems
    Authors: 黃瀞瑩
    Jingying, Huang
    Contributors: 文學研究所
    李正治
    Cheng-chih Lee
    Keywords: 嚴滄浪;詩歌;主題意識;情感基調;意象;句法;語法;語法
    Yan Canglang;poetry;theme;emotional keynote;image;sentencing;grammar;structure
    Date: 2001
    Issue Date: 2015-05-13 10:14:25 (UTC+8)
    Abstract: 嚴滄浪的詩話，七百多年以來，討論的專書或單篇論文很多；但是，其詩歌創作，研究者甚少。本論文以其詩歌創作為研究重點。 他的詩歌創作，在繼承中國傳統詩歌憂國憂民、士人不遇以及離別傷亂等主題之外，能夠發前人所未發，具有創新意識。其自我意識強烈之程度，凌越傳統詩人之上；絕不妥協的強韌精神，貫串其詩篇，在南宋頹靡詩風之中，獨樹一幟，發揮提振士氣的作用，成為士人詩歌創作的典範，在福建自成一個詩派；對於中國文化史上，文化重心的南移，中國文學史上，南方文風之熾盛，具有一定程度的貢獻。 研究過程中有一個發現：國家圖書館善本書室典藏本，元前至元27年（1290）刊本陳士元編《滄浪嚴先生吟卷》，及清乾隆年間《文淵閣四庫全書》影印本《滄浪集》，所脫漏佚失的部分，包括半首詩和有目無辭的三首詩，在日本汲古書院於昭和51年（1976）發行的《漢詩集成》《嚴滄浪先生吟卷》中，有完整的資料。此項發現，對於嚴滄浪148首詩作的整體瞭解，及其人生平某些疑點的解答，有正面的幫助。 最後，在詩歌藝術表現的探究中，發現詩歌的意象、句法、語法以及章法結構等形式方面的技巧，到了嚴滄浪已經臻於完整且成熟的階段。宋詩脫離唐詩的模仿而完成屬於南宋當代的風格；嚴滄浪詩從當代流行的詩風中解脫，形成具有自己獨特詩風的「滄浪詩」──使用典故，卻不著形跡；學問淵博，卻不以才學為詩；成熟的技巧；強烈的自我意識；以及強韌的精神力量。 嚴滄浪的詩歌創作，在中國詩歌發展史上，佔有一定的地位。
    There were many monographs and papers on Yan Canglang’s critical works in the past 700 years; however, there were only a few researchers who studied Yan’s own poetic works and his creativity in composing poems. The purpose of the present paper is to fill this gap. Besides inheriting the traditional themes of social concerns, personal frustration, separation from family or good friends, and sentimentalizing on chaotic society in the Chinese poems, Yan Canglang also created new themes. The strength of his self-abnegation went well above other traditional Chinese poets. His uncompromising spirit permeated his poems, which was quite unique among poets in the Southern Song dynasty. It inspired people’s morale, and became a paragon for others to follow. Thus he created a poetical school in Fujian Province, which was instrumental in the movement of the cultural center to Southern China and which contributed to the substantial literary activity in the South at that time. During the research process, we discovered that missing or incomplete poems in Canglang Yan Xiansheng Injuan, edited by Chen Shiyuan, published in Zhiyuan 27 of the Yuan dynasty (AD 1290) and collected by the Pare Bookroom of National Public Library (R.O.C), and in Canglang Ji ( a copy of Wenyuange Sikuquanshu in Qianlong period of the Qing dynasty), including one half poem and three poems, could be found in Yan Canglang Xiansheng Injuan, which was collected in Hanshi Jicheng and published by Kyuko Shoyin in Showa 51 nian (1976). This discovery helped us to piece together a whole picture of the 148 poems composed by Yan Canglang and has a positive influence on our understanding of Yan Canglang’s life. Finally, we found that Yan Canglang was consummate and mature in various skills relating to poetry writing, such as image, sentencing, grammar, and structure. Song poetry were born out of mimicking Tang poetry and thoroughly remolded herself and fromed her own styles during the Southern period. In particular, Yan Canglang created his own brand of poetry. The special styles of Canglang poetry include using allusion without trace, mastering of various scholarships without showing them off in poems, being mature in skills, being strong in self-consciousness, and being strong in spirit. The creativity of Yan Canglang has secured him a special position in the history of Chinese poetry.
    Appears in Collections:[Department of Literature] Disserations and Theses

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