眾神護形，步虛玉京──李白的謫仙詩學

＂Gods Protecting My Physical Form＂and Pacing the Void in the Jade Capital: Li Bai's Poetics of the Banished Transcendent

李白(701-762)詩中的道家、道教和神話傳說的母題元素形成其獨特的詩風。本文通過考察這些特有意象、境界的建構及生成背景，梳理其出處脈絡，從而整合李白這個重要的詩學體系，為分析其詩中各種意象的經營以及傳統「比興」視野下的詩思，提供理論根據和切入視角。本文以李白的「謫仙」意識為主要脈絡，考察其獨特詩學的形成。李詩吸取了上清經系的意象和意境，以及靈寶經系中的「步虛」科儀場景營構，據自身特點和需要用作敘事抒懷的新手段。這個仙道視界下形成的「謫仙詩學」原理體系有助於探索理解李詩獨特的題材風格，為李詩中的神話題材及情景結構、寄興方式等的構成原理和藝術魅力，提供一個較新穎的解讀角度和方法。

The Daoist diction and mythological motif elements in Li Bai's 李白 (701-762) poetic works contribute to the formation of a unique poetic style. The present study is an attempt to examine the provenance and background of this peculiar imagery in order to reconstruct Li's poetics. It offers a theoretical framework for the re-examination of various images in his poetic works and a new angle for the discussion of his poetic thought, which has been roughly categorized in terms of its metaphors and allegories. A main task of the present study is to trace the formation of Li Bai's unique poetics by looking into the background of his sobriquet ＂Banished Transcendent,＂ his Daoist learning experience, and his political life. It discusses Li Bai's use of diction and imagery, which were derived from the Shangqing 上清 (Highest Clarity) and Lingbao 靈寶 (Numinous Treasure) meditative methods and rituals as recorded in the two schools' classic scriptures, as a means to serve his personal poetic purposes. These explorations enhance our understanding of the poetry and poetics of Li Bai. The mythological components and metaphorical discourse in his poetry may be understood by means of an alternative approach and theory stemming from the ＂poetics of the Banished Transcendent,＂ which sheds new light on the study of Li Bai and his poetry.