獨留青塚向黃昏--「昭君」在杜甫詩中的位格意象

Mei-Ching Lin

Research output: Contribution to journalJournal Article peer-review

Abstract

摘 要 本文以昭君故事與唐詩中有關昭君的歌詠為材料,試圖從史傳、小說、 詩歌追蹤昭君故事演變的線索,釐析昭君故事及昭君形象的形塑過程。除勾 抉唐詩中有關昭君賦詠的幾個重要議題外,並分析「昭君」在杜詩中的位格 意象表現。經過研析比較,可獲得以下的結論:(一) 美貌與圖畫通常是歌詠 或議論的起點;(二)「愛」與「怨」的矛盾,使昭君的出塞和番,衍生出君 臣關係與和親政策的論辯;(三) 昭君故事中的「青塚」與「琵琶」,是唐人 詩歌中最常見也是最基本的意象元素;(四) 杜甫的〈詠懷古跡〉五首之三, 可說是唐人歌詠的壓卷之作,不僅展現詩人詩歌藝術的絕藝,也奠定昭君成 為抒發懷才不遇與感嘆生命孤絕的典型意象。
Abstract The article attempts to trace the evolution of the saga of Wang Chao-Chun and analyzes the narratives and image-sculpturing process by utilizing relevant historical accounts, novels, and poetry. In addition to draw upon several important issues in the recital of Wang in the poems of Tang Dynasty, this paper also spares some space to scrutinize her position and impression in Tu Fu’s poems. By triangulating and comparing these works, several concluding points can be made. First, ‘beauty’ and ‘painting’ are usually the starting point of discussion on ballads and comments. Second, straddling between ‘to love’ and ‘to hate’ spawns the debate on the relationship between the monarch and subjects as well as on the peace initiative policy making a woman like Wang to marry to a barbarian tribe beyond the Great Wall. Third, the azure tomb and the musical instrument, pipa, in Wang’s legends are the most prevalent and fundamental ingredients in Tang poetry. Finally, the third part in Tu Fu’s ‘Five Recitals of the Historic Relics’ is the most culminating denouement among all Tang’s works. Not only a masterpiece of poetry, it also establishes Wang as a prototypical image for the lamentation of obscurity and forlornness.
Original languageChinese (Traditional)
Pages (from-to)275-298
Journal長庚人文社會學報
Volume2
Issue number2
StatePublished - 2009

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