許渾詩和「許渾體」考論

The Research in the Poetry of Xu-Hun’s And“Xu-Hun’s Style”

本文辨明「許渾詩」和「許渾體詩」之異同。許渾體詩只擷取了許渾作品中七律為主的創作形式、閒適主題及精於對偶修辭之外在技巧為學習對象，於其懷古紀事一類詩歌或聲律上之重大創造皆無涉獵。歷來評者不少混淆了兩者美學及成就之差異，因此產生了以後者否定前者之誤讀。許渾體詩最盛於南宋江湖派流行之時，衍於元明而未衰，創作者之身分介於士庶之間，因此對許渾詩境頗有感通，其創作以個人遣興消閒為主，重於形式，可以視為南宋通俗詩學時代的創作表徵。由許渾至許渾體的歷程來看，中國古典詩學在以儒家意識為導向的創作觀以外，尚有潛在於民間文士的大量通俗創作，他們的作品不僅呈現了中國古典詩的另一種面貌和追求，同時也說明了「仿體文學」的形成因素與創作意義。

This article aimed to distinguish the “poetry of Xu-Hun” from the “poetry of Xu-Hun’ s style”. The “poetry of Xu-Hun’ style” had only taken the qilv（an eight-line poem with seven characters to a line） creating form, the idling theme and the master skill of antithetic rhetoric of Xu-Hun, but with no reference to his reminiscing and recording poems or the ones had a great original meaning of phonetics. A lot of critics had so constantly confused the aesthetical and accomplishing differences between them as to cause the misunderstanding that the latter was even better than the former. The poetry of Xu-Hun’s style was most popular in a period of time during which the Jiang-Hu school is prevailing in Southern Song Dynasty. It had developed in Yuan and Ming Dynasty. Those writers’ positions were lie in between the learned person and plebeian. They were easily to be touched by the atmosphere of Xu-Hun’s poems. Their pieces were mainly written to express their feelings and for enjoyment. They had laid stress on the form, and we could regard their pieces as a creative representation of the age of popular poetics in Southern Song Dynasty. From the evolvement of Xu-Hun to Xu-Hun’s style, we could notice that there were a lot of hidden and popular works written by lettered folks besides the steering composing views of Confucianism in Chinese classic poetics. Their pieces not only represented another kind of look and ambition of Chinese classic poetry, but also explained the sum of factors in “style-simulating literature”.