“桃源”意象在宋代诗文中的新变

A Variation in the Image of "Land of Peach Blossoms" in Song Poetry

自陶渊明在《桃花源诗》并《记》中,构建了中国本土大同理想的社会蓝图——"桃花源"模式以来,后世历代都有借此母题以寄托理想、抒写情志的诗文。而随着时代的变迁,对"桃源"母题的理解也发生着不同的异变。唐人笔下的"桃源"大多已成为神仙的居所,而宋代诗文中,"桃源"意象的涵义已由唐人的仙界回落人间,趋向现实化,其讽喻性也明显增强了。究其原因,与宋代社会现实不无关系。宋代是我国封建社会开始走下坡路的时期,北宋内忧外患,南宋半壁河山。士大夫们的参政意识和忧患意识比前代都增强了,对现实的忧患与失望使他们不可能再像唐人那样幻想在仙界找寻理想的归宿,便把目光投向了对现实的整顿。于是,"桃源"意象在宋代走向现实便成为必然。

Since Tao Yuanming established the image of ＂Land of Peach Blossoms＂ - - a native blueprint for the Great Harmony Society in China in both The Song of the Land of Peach Blossoms and the Tour of the Land of Peach Blossoms, later generations have employed this image to express their ideals in poetry. But the connotation of this image and people＇s understanding of it have varied with the passing of time. The Tang scholars mainly treated it as a residence for immortals while in Song Dynasty this image tended to be more realistic with ever - increasing sarcasm. The change in meaning of the image of Land of Peach Blossoms is closely related to the then social reality. When in Song Dynasty the Chinese feudal society was on the decline, scholars had the stronger awareness to participate in government and political affairs and be concerned about their country and people than ever. Their disillusionment with the reality taught them that they could not find an ideal place in visions as Tang people did. Therefore they focused their attention on changing the reality for the better. As a result, it was an inexorable trend that the image of the land of peach blossoms was inclined to be more realistic in the Song Dynasty.