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    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/96840


    Title: 唐代新樂府之發展關鍵──李白開創之功與杜甫、元結之雙線開展
    Other Titles: The Key Factor of the Development of Xin Yue-Fu Poetry in Tang Dynasty-Li Bo`s Creativity and Du Fu and Yuan Jie`s Two-Track Development
    Authors: 朱我芯
    Chu, Wo-Hsin
    Keywords: 新樂府;李白;杜甫;諷諭;元結
    Xin Yue-Fu;Satire;Tang poetry;Li Bo;Du Fu;Yuan Jie
    Date: 2007-06
    Issue Date: 2016-05-23 14:25:34 (UTC+8)
    Abstract: 新樂府於盛、中唐成就精采，其議論時事，述民疾苦，為中國諷諭詩歌的經典。學界過去論新樂府，多限於杜甫、張籍、王建、白居易、元稹、皮日休等少數詩人的代表作，而未能全面篩檢並考察初唐以至晚唐的所有新樂府，以觀其流變，也因而未能精切標誌出新樂府發展中具有轉關意義的詩家。\\r本文經通讀《全唐詩》，得出全唐新樂府六百四十一首，梳理其發展軌跡，發現自初唐詩人零星偶作以來，李白的廿一首新樂府為首見較為集中的嘗試，既啟動了唐樂府對漢魏樂府社會精神的復歸，也為樂府開創了以新題諷諭時事的新局。元結與杜甫的新樂府臻於成熟，正以此為基礎。元結三十五首與杜甫極其大量的六十五首新樂府，雖同時出現於盛唐之末，共同揭啟了中唐新樂府的創作風潮，然其二者的諷諭主題、形式特徵與發展路線，卻彼此迥異。中唐新樂府大盛，參與詩人及作品之多，冠於全唐，漢樂府特徵也於此際得到最全面且出色的再現，尤其李紳、元稹與白居易，自杜甫與元結的雙線發展中，提煉了雙方的長處，取捨有道，兼融並用，對新樂府有綰合再造之功。然至晚唐，中興夢碎，一場甘露事變，使政治氣氛轉趨凝肅，新樂府遂隨諷諭詩之驟減而趨沉寂，唯皮日休與于濆上承元結路線，為唐代新樂府譜下尾聲。
    Xin Yue-Fu which discussed current political situation and suffering of people was classical satiric poetry in ancient Chinese. It achieved a brilliant achievement from High-Tang to Middle-Tang. The academic circle expounded Xin Yue-Fu merely around representative works belong to Du Fu, Zang Ji,Wang Jian, Bo Ju-Yi, Yuan Zhen, Pi Ri-Xiou and so on. Xin Yue-Fu has never been overall searched and the poets who were pivotal significance in the development of Xin Yue-Fu have not been indicated exactly yet.In this article the author sifted poetry comprehensively from Quan Tang Shi and discovered 641 poems of Xin Yue-Fu in Tang. After combed out the development trajectory the author ascertained that the Li Bo’s 21 poems of Xin Yue-Fu were the first view to focus on this issue since the poets in Early-Tang had done piecemeal. It not only fired the Yue-Fu poetry recovering the social spirit of Han Yue-Fu but also initiated the new state of discussion on the current political situation with evolutional issues for Yue-Fu. Yuan Jie and Du Fu just based on them to mature the Xin Yue-Fu. Yuan Jie’s 35 poems and Du Fu’s 65 poems of Xin Yue-Fu simultaneously emerged out in the end of High–Tang and revealed a climate of composing Xin Yue-Fu, but their works were quite different in the issues of allegory, feature of style and route of development. The Xin Yue-Fu in Middle-Tang was flourished and full of participant poets. Kinds of represented wordsmanship of Xin Yue-fu were also outstanding in this period. Especially Li Shen, Yuan Zhen and Bo Ju-Yi retrieved from Du Fu and Yuan Jie’s pair of spreads and refined their fortes harmoniously. They made a contribution to reconstruct synthetic modality for Xin Yue-fu. After resurgence was failed and the political ambiance turned to dreariness after the Gan Lu coup in End-Tang the satiric poetry were drowsy and Xin Yue-Fu quieted down. Only Pi Ri-Xiou and Yu Fen inherited the Yuan Jie’s path and finalized the context of Xin Yue-fu for the Tan Dynasty.
    Relation: 政大中文學報, 7, 25-52
    Bulletin of the Department of Chinese Literature National Chengchi University
    Data Type: article
    Appears in Collections:[政大中文學報 THCI Core] 期刊論文

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