宋玉及其辞赋在唐代的传播与接受 = The acceptance of Song Yu and his works in Tang dynasty

• Main Author: 王雪 Wang, Xue
• Other Authors: Lim Ni Eng
• Format: Thesis-Master by Research
• Language: Chinese
• Published: Nanyang Technological University 2024
• Subjects: Arts and Humanities; Literature; Song Yu; Tang dynasty
• Online Access: https://hdl.handle.net/10356/175123
• Institution: Nanyang Technological University

宋玉作为中国文学史上的赋体初祖之一，“屈宋逸步”的后者，在文学史上似乎 始终受制于屈原，成为被遮蔽的一方。正因如此，自 20 世纪以降，宋玉及其文学变 成翻案的对象，尤以两汉与唐代为最，力求恢复宋玉真正的文学地位与价值。然而， 在部分研究中却出现了盲目提高地位与价值的现象，导致宋玉在文学史上的形象逐渐 模糊不清。故本文将根据史书记载与宋玉自身的辞赋，先从“历史的宋玉”与“文学 的宋玉”两方面着手，结合时代背景与文人思想，重点探讨唐人对两个宋玉的批评与 接受，并一窥双宋玉形象转变的异同与其在文人心中的地位。其次，本文以宋玉辞赋， 特别是《高唐赋》《神女赋》《登徒子好色赋》《九辩》《对楚王问》《大言赋》 《小言赋》《风赋》与存疑辞赋《招魂》作为出发点，通过女性形象、悲秋主题、典 故与其他类型这四个部分，分析唐代作为宋玉辞赋接受史的高峰，诗词、散文及唐传 奇等作品体裁是如何在继承之余又兼有发展。最后，本文以晚唐作为宋玉及其辞赋接 受的转捩点，探究后世误读宋玉形象之缘由与唐人创新之处在后世的遗风，从而正确 客观地对待唐代接受度的成与败，重新审视宋玉及其辞赋在唐代乃至文学史的影响力。 Song Yu, one of the originators of the Fu genre in the history of Chinese literature, the latter of which is “Qu Song are listed together” 屈宋逸步, seems to have always been subordinated to Qu Yuan’s position and become overshadowed. As such, Song Yu and his works have become the target of revision since the 20th century, especially in the studies of the Han and Tang dynasties, to restore Song Yu's actual literary standing and value. However, the phenomenon of mindlessly raising the standing and value has appeared in some studies, leading to the gradual obscuring of Song Yu's image. Therefore, this paper will first focus on the criticism and acceptance of the two Song Yu based on historical records and Song Yu's works. It starts from two aspects, named "historical Song Yu" and "literature Song Yu", which includes the analysis of the background of the historical period and the thoughts of the literati. And further discuss the criticisms and acceptance of the two Song Yu in the Tang dynasty, glimpsing the differences and similarities in the transformation of the two images. Secondly, the paper takes Song Yu’s works, especially Fu on the Gaotang Shrine 高唐赋, Fu on the Goddess 神女赋, Fu on the Lechery of Master Dengtu 登徒子好色赋, Nine Changes 九辩, Responding to the Question of the King of Chu 对楚王问, Big Words 大言赋, Little Words 小言赋, Fu on the Wind 风赋 and the sceptical work Summoning the soul 招魂 as perspectives, and uses four parts: female image, mourning for autumn, allusion and other types to analyse how Song Yu’s works being developed, inherited and reaches its peak in Tang dynasty. Finally, the paper takes the late Tang dynasty as the turning point to examine the reasons for the misinterpretation of Song Yu’s image after the Tang dynasty and the inheritance of Tang innovation in later dynasties. This is to address the successes and failures of the acceptance of Song Yu and his works accurately and impartially in the Tang dynasty and even in the whole history of Chinese literature.