論白居易吟詠詩歌之自我表現

The study on Bai Juyi’s Chanting and Self-Expression

吟詠詩歌不僅是一種閱讀方式，也是寫作的動態活動，更是表現自我、抒發情感的行為，因此具有獨特的詩學意義。吟詠雖然是透過聲音推敲斟酌，穩順韻律，其行為本身也是詩人自我形象的直接展示。本文以白居易的吟詩為討論焦點，他不僅宣稱自己「愛詠詩」、「吟詠從成癖」，更表達「吟哦過一生」的理想，其大量自覺表述吟詩詠詩，從不同角度表現吟詠詩歌的篇章，可說是杜甫之後最值得加以關注的詩人。因此本文從以下三個角度展開：第一，先說明唐人吟詠詩歌的主要類型與創作意義；第二，討論白居易從不同角度表現自我的吟詠；第三，從表演與戲劇化角度說明白居易吟詠詩歌的獨特性。綜合而言，白居易的吟詩，有鮮明的自我表現色彩，但卻無「苦吟」的沉重悲苦，更以「醉吟」、「狂吟」姿態展現在公領域中，成為一個具有獨特「聲音姿態」的唐代詩人。

Chanting poetry is not merely an act of reading; it is also a form of expressing emotions and showcasing self-image through sound and rhythm, carrying unique poetic significance as a literary activity. The Tang dynasty poet Bai Juyi not only claimed that he“loved chanting poems”(「愛詠詩」) and that“chanting became an obsession”(「吟詠從成癖」) but also expressed his ideal of“chanting throughout his life(「吟哦過一生」).”His numerous and consciously composed works that portray chanting from different perspectives are worth our attention. This paper discusses Bai Juyi’s chanting behavior from three angles: First, it explains the main types and meanings of chanting poetry in the Tang dynasty; second, it explores how Bai Juyi expresses his chanting from various angles; and third, it analyzes Bai Juyi’s unique style of chanting poetry through the lens of performance and dramatization. In sum, Bai Juyi’s chanting displays a distinct element of self-expression. Unlike his contemporaries, who were burdened with the“bitter chanting”(苦吟) of sorrow and grief, Bai Juyi presents himself in public spaces with the persona of“drunken chanting”(醉吟) and“mad chanting,”(狂吟) establishing himself as a Tang poet with a distinctive“vocal posture.”