變調山水與樂府新聲／心聲：鮑照詩的雅俗與自我

世族與寒門的矛盾是南朝最深刻的社會問題，直接導致了文學和文化上的雅俗之辯。人微才秀的鮑照正是這一歷史情境的典型人物。就其寫景詩而言，出身與仕進形塑了鮑照不避危仄、縱情抒懷的尚俗傾向。由於出身低微又一生隨幕主奔波，鮑照在蘊含道理及以賞美爲目的的高雅山水中找不到安身立命之處，故而變之爲可對應自己生命情境的險俗山水。就其〈擬行路難〉而言，鮑照刻意以淺俗意象、民歌語調及新變的「雜七言體」來書寫普遍的情感主題，將傾炫心魂之情大陳於劉宋以雅爲正、以情爲累的詩歌殿堂。本文嘗試證明的是，鮑照之所以終生不倦地創作不被主流接受的作品，原因之一在於其抒情自我與當代貴族文士的抒情自我有著根本區別；原因之二為在保守而又求新的南朝，鮑照試圖以此展現自己對詩歌形式的經營與新變之功。質言之，其詩中反覆自述的是一個依違於雅俗之間的邊緣自我。

The conflict between aristocrats and commoners is one of the most profound social issues of the Southern Dynasties, directly leading to the debate on elegance (雅) and vulgarity (俗) in literature and culture. Bao Zhao (鮑照), a figure of modest origins but exceptional talent, epitomized the archetypal individual amidst this contemporary situation. On the one hand, he transformed the mainstream elegant landscape (高雅山水) into the rugged landscape (險仄山水), highlighting his discordance with the aristocratic spirit. On the other hand, his poem“Ni Xing Lu Nan”(擬行路難) revealed deliberate tendencies towards commonerization in its phonological, narrative, and tonal aspects. At the same time, his creation of the“miscellaneous heptameter”(雜七言體) further showcased his rejection of the orthodox tradition. Essentially, Bao Zhao’s deliberate departure from mainstream literary expressions represented a response to the conflict between aristocrats and commoners, the contradiction of elegance and vulgarity, and a reflection of his contemplation and pursuit of self-meaning.