哀從何來──從〈八哀詩〉看宋人學杜蹊徑與詩史交涉

The Song Poets’Emulation of Du Fu and Their Negotiation with Poetic History - A Study of the“Eight Laments”

杜甫善寫人，尤善寫時人，以「不落俗套」的表現手法，隨人即事，每多創體。大曆元年作〈八哀詩〉，以詩為時賢作傳，關涉個人生命書寫與國勢興衰。宋人嗣作，王禹偁有《五代史闕文》，又作〈懷賢詩〉三首、〈五哀詩〉以哀五代入宋的王佐才；司馬光有《資治通鑑》，又作〈五哀詩〉以哀負大才而困於讒以致云亡殄瘁者，都可謂別出蹊徑，也都關乎詩人哀思與詩史交涉。宋室南渡，詮釋〈八哀詩〉者，以為「可以表裡《雅》、《頌》」、「當與太史公諸贊方駕」，有「詩人作〈黃鳥〉之詩以哀三良」意。本文以杜甫〈八哀詩〉為典範，梳理宋人嗣作，關注從盛唐到北宋盛世的君臣關係，兼及宋人學杜蹊徑與詩史交涉的討論。

Du Fu excelled at portraying contemporaries through an“unconventional”style that responded flexibly to events and often produced formal innovation. In 766 he composed the“Eight Laments”(Ba’ai shi), poetic biographies of eminent contemporaries, intertwining personal life-writing with reflections on dynastic rise and decline. Song poets extended this model. Wang Yucheng, author of the Supplement to the History of the Five Dynasties, wrote Five Laments mourning statesmen lost in dynastic transition. Sima Guang, compiler of the Comprehensive Mirror for Aid in Governance, likewise composed Five Laments commemorating talented men destroyed by slander. These works adapt Du Fu’s paradigm by combining personal grief with poetic historiography. After the Southern Song relocation, commentators elevated the“Eight Laments”as poems comparable to the Book of Songs and Sima Qian’s encomia. This study traces Song continuations of the form, examining shifting constructions of ruler-minister relations and the poets’simultaneous emulation of Du Fu and negotiation with poetic history.