破與立之間：論《唐詩歸》中李白詩歌的編選策略

Deconstruction and Construction : The discussion of edition strategy of Li Bai's poetry in Tangshigui

明一代長久以來的詩學崇尚均以「尊唐詩」作為主流，其中又以「盛唐詩」最受矚目、評價亦為最高。而一旦牽涉了盛唐詩的討論，李白與杜甫這二大詩人不免成為最閃耀的亮點。到了晚明之際，鍾、譚的《唐詩歸》中李、杜的詩作就佔有四百一十三首之多，占了《唐詩歸》總數的約百分之十八。李白詩共選入九十八首，雖非最多者，不過《唐詩歸》選錄李白的研究仍有其開拓之空間，故本文便先以李白詩的編選情況進行探討。本文將優先呈現鍾、譚「力排『惜群』的編選策略」、接著論及二人編選如何「痛加削除」，最後又如何「重塑李白的詩歌形象」，由「破」至「立」共三個層次逐步開展論述。一方面具體呈現晚明《唐詩歸》對於李白的接受觀念的轉變，另一方面亦期能為清代詩歌選本中選李詩之現象，先行提供一個架構。 The poetics in Ming Dynasty promote the Zuntangshi to be the mainstream for the long time. Especially, Shengtangshi draws greatest attention and highest evaluation. The two greater poet Li Bei and Du Fu are unavoidable to be the high-profile person when people discussed Shengtangshi. There are 413 poems of Li and Du which is edited and collected in Tangshiqui by Zhongxing and Tanyuanchun in the late Ming Dynasty.It is accounted for 18% in Tangshiqui. There are 98 Li's poems in it. It's not to many, so there is still plenty of room to study and collect Li's poems. This thesis discussed the edition condition of Li's poems first, the strategies edition of against all the odd of Zhong and Tan is the priority to present. And then, discussed how Zhong and Tan reluctantly deleted some poems, the last one how to reform Li Bei's image of poetry from deconstruction to construction through three levels. It presented the specific transformation of view of Tangshiqui for accept Li Bei's poems in the late Ming Dynasty and offer a framework for phenomenon of selection of Li Bei's poems which is collected in Qing Dynasty's anthology.