杜詩瘦病審美及詠枯病樹詩探析

The analysis of Du Fu’s poetic aesthetics of thin and disease and the four poems about withered and diseased trees

杜甫詩往往呈現詩人對生命經歷的種種感思，以及他對國家與百姓的熱切關懷。詩人的詠物詩中自也出現這樣情懷，故其詠物詩一直受人重視。然而，當詩人被貶官至華州之後，卻出現以「瘦」、「病」、「枯」等字為題的詠物詩。透露出詩人對描繪外物的審美趨向產生轉變，亦隱含著詩人將「自我」投射於「物」的情感。而詩人的草堂生活雖閒適自得，但卻有一組描寫枯病樹的詠物詩：〈病柏〉、〈病橘〉、〈枯椶〉、〈枯柟〉。本文旨在討論詩人的瘦病審美是從何時開始出現，而這一審美對詩人的觀景寫物又有怎樣的影響？又，透過對此組詠枯病樹詩的探究，可知詩人是如何將對自我及家國的深沉感嘆寄寓於此些枯病樹中，及詩人如何汲取枯病植物的書寫傳統，開展新的境界，並對後人造成的深切影響。

Du Fu's poems often show the poet's various reflections on life experiences, and his fervent concern for the country and the people. However, after the poet was demoted to Huazhou, there appeared poems about things with the words ''thin'', ''sick'' and ''withered''. This reveals that the poet's aesthetic tendency to depict foreign objects has changed. It also implies the poet's emotion of projecting ''self'' on ''things''. After the poet entered Shu, there appeared four poems describing withered trees. The purpose of this paper is to discuss when the ''aesthetics of thin and disease '' began to appear, and how does this aesthetic affect the poet's landscape writing? Through this discussion, it can be seen that the poet not only absorbed the writing tradition of blighted plants and developed a new realm, but also had a profound impact on later writers.