論宮體詩與抒情傳統之關係──兼論梁陳宮體的三種類型

The Relationship between the Palace Poem and the Lyric Tradition of the Liang-Chen Dynasties - A Study on the Three Types of Palace Poem on Liang-Chen Dynasties

「宮體」在文學史的評價近來已趨於平衡，「宮體」的定義、範圍也逐步釐清。本文主要針對梁陳宮體進行探討，主要有兩個目的，其一，希望能釐清作為「宮體」核心的情慾書寫與抒情性、抒情傳統之關係；其二，希望能從抒情傳統出發，來觀察蕭綱、徐陵、和陳叔寶三位宮體代表作家如何將宮體納入中國文學傳統之中。如果說情色、慾望屬於「情」的一部分，建構抒情傳統的過程中自然不應跳過宮體詩，但宮體的輕豔風格以及感官書寫卻又不符合言志、比興的文學傳統。故本文希望藉著論宮體詩與抒情傳統之關聯以及蕭綱、徐陵與陳叔寶所呈現的梁陳宮體詩的三種類型，進而重探宮體於中國文學脈流的定位。

In recent years, the evaluation of the “palace poem” (gongti) in Chinese literary history has gradually become balanced. The definition and scope of the palace poem is also becoming more clearer. This article has two objectives of inquiry in regards the poems which appeared during the Liang and Chen dynasties. First, to clarify the close connection of “erotic writing” (qingyu shuxie) and the “lyrical tradition” (shuqing). Second, to explore how the three different representative poets Xiao Gang(蕭綱), Xu Ling(徐陵), and Chen Shubao(陳叔寶) bring the palace poem into the tradition. If desire belonged to one aspect of emotion, establishing the process of the lyrical tradition will not neglect the importance of the palace poem. However, the flirtatious style and the writing used only by sense of the palace poem are not suitable for the tradition of “expressing aspirations” (yanzhi) and bi-xing (metaphor and metonym). In this paper, I hope to discuss the connection of the palace poem and the lyrical tradition. Then, I try to clarify the three different writing styles of Xiao, Xu and Chen. After that, I hope to explore the meaning of palace poem in the Chinese literature's tradition.