| 中文摘要 |
本文在現地考察的基礎上，以桃花源為原型討論盛唐所謂「山水田園詩」的兩位代表作家孟浩然與王維的空間詩學。文章指出：與孟浩然莊園瀕臨漢水和大道的地理面貌符應，孟浩然並未真正創造出一個他願棲居的「桃花源」那樣相對封閉而彰顯內、外之別的詩學空間，「田園」於此並非主要作為此地此刻的隱淪棲居而對蹠城郭和朝市，而是身在「江海」、「他山」遊子憶念之中的桑土。他的詩，主要是講述他如何藉漢水、襄水和湖泊之利便，在襄陽和天下四方的漫遊中，一次次如桃源外的「漁人」一樣走進「仙源」。只有在夜的帳幕裏，其周遭方在其視野中化為一個幽谷。作者經現地考察肯定晚年王維的隱居地在藍田輞川谷內，此被四山環繞的相對隔絕地貌符應著詩人對「別異鄉」的擬設。詩人是以桃花源中人的眼睛去諦視一個平常且相對逼仄的山谷，並時時在在去體驗「真趣」。在此，空間是由存在打開的。作者經對《輞川集》王維和裴迪對同一地點吟詠的比較，揭示美景於此只為此一存有者與整體存有界同現共流之中對意義的領會和開顯而已，原則上不可重複。而且，詩人絕非以詩追敘這一體驗，而是追光躡景於正在歷經的體驗。此由存在自內打開的空間知覺之本質是渾圓的空間氛圍，特為幽谷環繞的輞川所體現。作者最後強調本文與其說是證明一種地理決定論，毋寧說是去發現詩人對環境選擇的內在理由或對生活方式擬設。本文在結論中討論了王維的輞川詩作對後世詩歌和文人造園活動的影響。Based on the data from on-site investigations, this article uses the fiction about the Peach-Blossom Spring as a mythos to discuss the poetics of space of the two representatives of the high-Tang recluse poets, Meng Haoran and Wang Wei. The author demonstrates that, in accordance with the geographical environment of Meng's farmstead, which was at the bank of the Han River and beside the main road, the so-called reclusive world created by Meng's poetry is not really a sequestered space to highlight the distinction between inside and outside. In this regard, 'tianyuan' (field and garden) is not a reclusive world antagonistic to cities and court, but instead, it designates a homeland for a wandering traveler. Most of his poems accordingly expatiate upon how the poet approaches attractive sites one after another in Xiangyang or somewhere far away through rivers or some lakes, as 'the fisherman' entered the 'Peach-Blossom Spring.'The on-site investigation leads the author to believe that the reclusive world of Wang Wei in his old age is indeed within the 'Wangchuan valley', as the poet told us. Its secluded topography surrounded by mountains is consistent with what the poet assumed as 'heterotopia' in poetry. The poet here gazes at this secluded world with the eyes of a man in the 'Peach Blossom Spring' to discover its alluring moments. Space at this point is opened through the dasein within the torrent of the beings. Furthermore, the poet is not narrating the experience but experiencing the momentary experience through his poems. This kind of perception of space opened up internally through dasein is essentially spherical, particularly embodied by the secluded 'Wangchuan valley' itself. Finally, the author emphasizes that this article is not so much to confirm a geographical determinism as it is to find the intrinsic reasons or assumed life-styles for the recluse poets to choose their environments. The conclusion also discusses the impact of Wang Wei's poems written in Wangchuan on later lyric writing and particularly the design of literati gardens. |
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