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研究生： 陳思穎
Chen, Si-Ying
論文名稱： 華滋華斯詩中的中國山水情懷：山水不只是山水
The Thought of Chinese Landscape Art in Wordsworth’s Poetry: The Landscape Is Not Merely the Landscape
指導教授： 閻振瀛
Yen, C. Y. Joseph
學位類別： 碩士
Master
系所名稱： 文學院 - 外國語文學系
Department of Foreign Languages and Literature
論文出版年： 2005
畢業學年度： 93
語文別： 英文
論文頁數： 149
中文關鍵詞： 田園歸隱 、老莊 、華滋華斯 、中國山水詩 、佛道禪 、陶淵明
外文關鍵詞： Wordsworth and Chinese landscape poetry, Chinese Taoist and (Zen) Buddhist philosophies, Tao Yuan-ming, pastoral hermitage
相關次數： 點閱：170  下載：7 
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    • 　　東西方自然詩的發展俱晚。自詩中的附屬地位，得到詩中獨立的生命，「自然」都曾歷經為神作嫁、為人作嫁的階段。先看在中國；上古詩經中，自然現象為神旨所託，或詩人為吟詠其志，以「賦比興」等文學表達手法，襯托詩中天志或人間生活種種主題。而上古南方代表文學楚辭中，自然或為真實實景，或詩人想像幻境的投射；楚辭山水，集中烘托、渲染詩人濃烈鬱積的主觀情感。漢賦承繼楚辭幻境山水傳統，然主題轉換、侷限於帝王之家，成為紙下筆墨、案頭山水，華而不實。幻境山水傳統沿襲至魏晉遊仙玄言詩不輟，但政治紛擾、人世不靖，主題由人間將相，高拔至神仙、至道的追尋。至謝靈運清麗山水出，自然為己發聲，已跋涉漫漫歷史長路矣。

    　　再看西方文明，不論希臘羅馬文明，或基督教神學體系，「自然」的從屬地位被系統理論定位。在希羅古典哲學體系，自然是宇宙現象背後一終極「理念」的複製，藝術作品更貶謫為此複製物的衍生。理想自然景觀必須遵守此終極「理念」的運作法則：和諧、均衡、節制、中庸。基督教神學視自然為象徵：罪惡世界的象徵，和人類原罪的象徵。和古典希羅自然觀並行，自然在中古宗教文學中，蒙上了道德寓言色彩。朗吉納斯﹝Longinus﹞「崇高」美學之復興，加以歐陸行旅的刺激，浪漫山水詩始得到催生的力量。

    　　中國傳統人本主義，使華滋華斯的人文山水，得到和中國山水詩相提並論的立論點。華滋華斯的人道理念，其「睿智無為」﹝wise passiveness﹞的自然觀、人生觀，更和中國老莊、佛道禪哲學兩相呼應。同樣由於華滋華斯企慕和諧的自然人文觀，使早他千年的中國詩人陶淵明的田園歸隱生活，和他遙相作和。

    　　然西方遲至西方現代主義的顛覆性革命，方得擺脫傳統形上學的思維體系。華滋華斯早先於浪漫時期所為的自然人文詩，未曾使自然自神旨、人本傳統，獲得全然獨立的地位；但其悲劇英雄式的詩風開創，不僅對西方現代主義，甚至對同時代浪漫主義風潮，堪稱雖敗猶榮，皆當之無愧；更使他的人文自然詩，在西方成為前無古人、後無來者，卻奇異的和東方中國古典文明，得到可親的交集。

    　Nature poetry developed late in both the Chinese and Western traditions. From its subordinate role to its independent status, “nature” in Chinese and Western poetry has undergone the intermediate stages of serving as a tool for God and man. In the Book of Poetry in ancient China, the natural phenomena were endowed with heavenly will, or served poets for their ability to inspire their aspirations or feelings through poetic devices such as “description, metaphor, or association,” and thus explore subject matters such as the heavenly will or worldly life. As to the representative literature in Southern ancient China, The Elegies of the State of Chu, whether representing the real natural scenery, or the projection of the poet’s imaginative landscape, focused on reflecting or emphasizing the poet’s subjective, intense and smoldering emotions. “Han Fu” inherited the tradition of imaginative landscapes seen in The Elegies of the State of Chu, while its subject matter had shifted, and was restricted to the imperial affairs. Landscape in “Han Fu” had only become the scenery depicted by the pen, or landscape portrayed at the desk, flashy and without substance. The inheritance of the fanciful landscape remained in Wei-Jin “Poetry about Immortals” and “Metaphysical Poetry.” But the chaotic political conditions and the tumultuous human affairs of the age had shifted poetic subject matter from secular fame and success to the more elevated realm of celestial immortals and the ultimate Truth. Until Xie Ling-yun’s pure and exquisite landscape poetry, “nature” had not achieved its independent role in the long history of Chinese literature.

    　Let’s next consider Western culture. Whether in the Greek-Roman tradition or under the Christian theological system, the subordinate status of “nature” was fixed systematically and theoretically. Under the classical Greek-Roman philosophical system, nature was only the copy of the ultimate Platonic ideal behind the phenomenal universe, and artistic works were sometimes despised as only the copy of copy. An ideal natural scene should have the attributes of a Platonic ideal; that is: harmony, balance, moderation, and the golden mean. Under Christian theology, nature was viewed as a symbol of the sinful world and of human original sin. Parallel with the classical Greek-Roman inheritance, “nature” in medieval literature was endowed with didactic and allegorical connotations. With the revival of Longinus’ aesthetics of the “sublime,” and the rise of the European Grand Tour, Romantic landscape poetry finally came into being.

    　Chinese traditional humanism provides one standpoint to compare Chinese landscape poetry with Wordsworth’s humanistic landscape poetry. Wordsworth’s humane ideal, and his “wisely passive” outlook on nature and human life further echo Chinese Taoist and (Zen) Buddhist philosophies. Likewise, Wordsworth’s harmonious outlook on nature and man, he has many echoes of the Chinese poet Tao Yuan-ming’s pastoral writings one thousand years ago.

    　As a matter of fact, the Western metaphysical inheritance was not completely overturned until subversive and revolutionary Modernism. Wordsworth’s humanistic landscape poetry in the preceding Romantic period failed to release nature from God and humanism into an independent status, and while his aspiration to write humanistic landscape poetry was unprecedented in his own culture, it had close links with ancient Chinese culture in a peculiarly intimate way.

    Chapter One: Introduction．．．．．．．．．．．．．．．．．．1 I. Western View of Nature Before Romantic 　　　　　Landscape Poetry．．．．．．．．．．．．．．2 II. Western Romantic Landscape Poetry．．．．．4 III.Chinese View of Nature Before Wei-Jin 　　　　　Landscape Poetry: Nature in The Book of 　　　　Poetry．．．．．．．．．．．．．．．．．．．5 IV.Chinese View of Nature Before Wei-Jin 　　　　　　Landscape Poetry: Nature in Elegies of the 　　　State of Chu．．．．．．．．．．．．．．．．8 V.Chinese View of Nature Before Wei-Jin 　　　　　　Landscape Poetry: Nature in “Han Fu”．．10 VI.Chinese View of Nature Before Wei-Jin 　　　　　　Landscape Poetry: Nature in “Poetry about 　　　Immortals”．．．．．．．．．．．．．．．．12 VII.Chinese View of Nature Before Wei-Jin 　　　　　Landscape Poetry: Nature in the 　　　　　　　　“Metaphysical Poetry”．．．．．．．．．．14 Chapter Two: Wordsworth and Chinese Landscape 　　　Poetry．．．．．．．．．．．．．．．．．．16 I.Wordsworth’s literary inheritance of Romantic 　　landscape poetry．．．．．．．．．．．．．16 II.Wordsworth’s View of Nature: the Bright 　　　　Side．．．．．．．．．．．．．．．．．．．18 III.Wordsworth’s View of Nature: the Mysterious 　　and Powerful Side．．．．．．．．．．．．．24 IV.Wordsworthian Naturalistic Man and Humanistic 　　Nature．．．．．．．．．．．．．．．．．．27 V.Chinese Wei-Jin Landscape 　　　　　　　　　　　　Poetry．．．．．．．．．．．．．．．．．．31 VI.Landscape Literature in Tang Period and 　　　　　Chinese Poetics．．．．．．．．．．．．．．37 VII.Chinese and Wordsworth’s Aesthetics of 　　　　Landscape painting．．．．．．．．．．．．44 VIII.The comparison between Chinese and 　　　　　　Wordsworth’s Landscape poetry．．．．．．50 Chapter Three: Wordsworth’s Poetry and Chinese 　　Philosophy．．．．．．．．．．．．．．．．53 I.Wordsworth and Chinese Views on Nature and 　　　　Death．．．．．．．．．．．．．．．．．．．53 II.Wordsworth and the Chinese View of the 　　　　　Inexpressible Essence of the Universe．．．67 III.Wordsworth and Chuang-tse’s Philosophical 　　　Interrogation of the Certainty of Reality．75 IV.Wordsworth’s View of the True Poet, His 　　　　Communication between Nature and Man．．．81 V.Wordsworth’s Later View of Death and 　　　　　　Faith．．．．．．．．．．．．．．．．．．．86 Chapter Four: Wordsworth and Tao Yuan-ming’s 　　　Pastoral Poetry．．．．．．．．．．．．．．89 I.Wordsworth and Tao Yuan-ming’s Choice of 　　　　Pastoral Hermitage and Natural Comfort．．89 II.Wordsworth and Tao Yuan-ming’s Choice of 　　　　Pastoral Community．．．．．．．．．．．．93 III.Tao Yuan-ming’s Participant and 　　Wordsworth’s Observing Stances in Their 　　　　Pastoral Poetry．．．．．．．．．．．．．．96 IV.The Humanized Nature Rather Than Indifferent 　　Nature in Tao Yuan-ming and Wordsworth’s 　　　Poetry．．．．．．．．．．．．．．．．．．99 V.The Different Social Backgrounds of Chinese 　　　and Wordsworthian Hermitages．．．．．．．107 VI.The Signification of Exile in Tao 　　Yuan-ming’s “Peach-Blossom Spring”．．110 VII.Wordsworth’s Poetics of Simplicity and 　　　　Authenticity．．．．．．．．．．．．．．．115 VIII.Wordsworth’s poetry of “Life, Memory, and 　　Utopia”．．．．．．．．．．．．．．．．．117 Chapter Five: Conclusion．．．．．．．．．．．125 Notes．．．．．．．．．．．．．．．．．．．．129 Works Cited．．．．．．．．．．．．．．．．．143

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