杜甫歌行詩後世模擬析論——以〈觀打魚歌〉、〈又觀打魚〉為例

An Analysis of Imitations of Du Fu’s Song-styled Poetry by later generations, with particular to the ‘Fishing Observing Song’ and ‘Fishing Observing Once Again Song’

杜甫對後世詩歌創作產生巨大影響已為歷史共識，然從創作概念之啟發到全篇詩作之模擬，其淺深差別與創作意義又有層次上之分別。本文所論即後世對杜甫單一詩篇的模擬。除了少數律體、絕句，後世對杜甫單一詩篇的模擬多集中於其「歌行」。本文所謂「歌行」，特指杜甫在詩題中保留了「歌」、「行」字樣的新題七言詩，這類作品雖不再入樂演唱，但仍保留的樂府詩的音樂感，唐人並不模擬此類詩歌，只依其精神而創建「新樂府」；但宋代以降，詩人已視此類作品為「舊題樂府」而加以擬作。
本文以〈觀打魚歌〉及〈又觀打魚〉兩篇為例，後世模擬有主旨相同、近似轉換與全然迥異之分別，而其模擬手法則有重覆、轉化與嫁接等不同層次的操作，其中皆蘊含了不同概念的創作意識與詩學理想。而大量的模擬，也形成了特殊的詩歌體類，有了體類所獨有的創作規範與修辭策略。從杜詩學的立場來說，這些模擬的作品不僅凸顯了杜甫的創造力，也對元文本有了詮釋與深化的功能，同時巧妙地將杜詩與傳統經典焊接為一整體，確立了杜甫新典範的意義。因此也可以說，在杜詩學發展的歷成中，有以批評為導向的杜詩發微，亦有以創作為導向的具體實踐，「模擬」可說是後者的高峰表現。
杜甫歌行類作品在後世的模擬中，其原創文體的規範意義更加明確，而由模擬所建構的文類傳統也證明了杜甫的創造力乃超越單一作品之藝術得失，而是具有創體意義的歷史價值，這些內涵可視為古典詩歌創作的微型模組，有助於我們理解古典詩歌創作的歷史及文化因素。

The common consensus among modern scholars is that Du Fu’s poetry had a great effect on later generations of poets. We can observe the difference in creative depth and imagination between poems which were merely inspired by existing works versus those poems which were created by directly imitating other poems.
This article will address how the same poem of Du Fu was imitated by several later poets. Apart from a small number of poets who imitated the eight-line and four-line (quatrain) poems, later generations predominantly imitated Du Fu’s ‘song-style’ poems. In this article, ‘song-style’ poems refers to those new Yue Fu poems in which Du Fu retained the words ‘song’ (ge) and ‘music’ (xing) in a seven-word title, with reference to ‘Yue-Fu’ poetry. Although these works were no longer sung in performances, they still retained the musical feeling of Yue Fu poetry. Poets of the Tang Dynasty did not directly imitate this style; instead, they used the essence and spirit of the Yue-Fu poetry in order to create a new style which was termed ‘neo-Yue Fu’. In the Song Dynasty, however, poets regarded all these works as ‘old Yue-Fu’, and imitated them.
This article uses the ‘Fishing Observing Song’ and ‘Fishing Observing Once Again Song’ as examples. Although Du Fu’s imitators all used the same keynote for their poems, the end results could either be very similar to the original works or completely different. The same applies to the imitative technique used, which varied from transforming certain parts of the poem to grafting new ideas onto old. This diversity of skills led to many ways of creating ideas and images. At the same time, many of the imitations came into being as their own poetry style, diverting from the standard form to possess unique rhetorical strategies. From the viewpoint of scholars of Du Fu’s poetry, these imitations not only highlight the creativeness of Du Fu, but also have the function of interpreting and deepening the text of the Yuan Dynasty. At the same time, these ingenious imitations welded Du Fu’s poetry and traditional classics, thereby firmly establishing the meaning of Du Fu’s new paragon. Therefore, it can be said that scholars of Du Fu followed two paths. Some chose a criticism-oriented approach to explore Du Fu’s poetry, while other scholars were creation-oriented by putting the constructs of Du Fu’s poetry into practice. For the latter group, ‘imitation’ was their ultimate performance.
As a result of poets in later generations imitating Du Fu’s ‘song-style’ poems, the style and meaning of the original works have become even clearer. By exploring the style and traditions of Du Fu’s poetry through imitation, Du Fu’s creativeness was proven to transcend the artistic achievement of a single work, and was also shown to have great historical value of creative meaning. These imitations can provide scholars with a micro-insight into classical poetry, and aid us in understanding the elements which go into creating classical poetry, as well as the surrounding historical and cultural elements.