唐代騷體詩淵源及新變考論

A Study of The Sao-Style Poetry in Tang Dynasty

《楚辭》影響廣泛，漢代以後分化詩賦兩體，六朝以降，騷體詩日漸零落，但在唐代卻忽然復興，作者眾多而佳篇歷歷。本文認為，唐代騷體詩的精神淵源在於屈宋風骨的重新確立，而六朝賦體中的「亂」、「歌」與「騷體結尾」，是唐代騷體詩的形式來源。在《文選》興盛的唐代，唐人很可能透過《文選》來學習騷體。唐代的騷體詩形式多元，除了傳統悲秋、不遇等主題，也包括了感傷時代、嚮往隱逸等主題，同時表現了民間信仰，也運用於新興傳奇文中。中唐之際，更有詩人將儒家意識結合騷體，以古澹的筆調展現了關懷社會的議題，開展出騷體詩嶄新的創作風貌。故騷體不僅是一種詩歌形式，同時也反映了當代精神與文化的追求。

Chu Ci (Verses of Chu) had a huge influence over the development of Chinese literature, and it split into poetry and rhyme-prose after Han dynasty. Although Sao-Style poetry had been fading since the Six Dynasties period, there had suddenly been a revival of it in Tang dynasty with continual great creations by many authors. In this article, it was thought that the core of the Sao-Style poetry in Tang dynasty is on re-establishing the mental capacity of Qu Yuan and Song Yu, while "Luàn" and "Song" that were popular in rhyme-prose creations of the Six Dynasties period might be the original form of Sao-Style poetry in Tang dynasty. As Wen Xuan (or Selections of Refined Literature) was prevalent in Tang dynasty, it is quite possible that people at the time learned the Sao-Style through it. The Sao-Style poetry had diversified forms in Tang dynasty. In addition to the traditional themes such as feeling sad with the advent of autumn or missing chances, there were also the themes of feeling sad for the age or yearning for living in seclusion; furthermore, the various creations had also demonstrated folk religion and had been applied in the emerging writing style, Legend of Tang. In the mid-Tang period, there were even poets combined Confucianism with the Sao-Style to present the issues of social care which had developed a brand new creation style of Sao-Style poetry. Therefore, Sao-Style poetry is not only a poetry form but also a reflection of the unique spirit and culture of the contemporary.