鲍照“代”乐府体探析——兼论汉魏乐府创作传统的特征

A Probe into the Style of Bao Zhao's Yuefu Surrogate——Also Comment on the Traditional Yuefu in the Han and Wei Dynasties

《鲍照集》里的代乐府是乐府创作中的一个特殊现象,鲍照的代乐府虽然具有汉魏乐府创作传统的基本特质和不少表现元素,但并非汉魏乐府的复旧。"代"字标示了他在传统基础上的创变。在《鲍照集》里的代乐府或借旧题裁己意,或用新题代旧题,标示了鲍照拟乐府与汉魏晋乐府创作传统的联系和区别。认识代乐府体所提供的考察角度,便于今人更清楚地看到鲍照对于汉魏古乐府传统和当时新兴乐府的不同,以及处理各种乐府体式的不同创作态度。鲍照的代乐府以五言为多,集中体现了他对汉魏晋乐府创作传统的认识:第一,取题多用旧题,小部分自立新题;第二,鲍照的代乐府五言中有一部分吸取了汉乐府偏重叙事以及场景表现单一性的方式,通过某个人物、场景或者故事的设计,集中地抒发自己的感想;第三,多用比兴虽是汉魏古诗共同的表现特征,但鲍照有一部分乐府的比兴句式更接近汉乐府;第四,汉古诗和乐府好从人生感慨和人生经验中总结出某些名理,富有训诫意味,鲍照也时有这类总结性的诗句;第五,鲍照的代乐府文气贯通流畅,虽然有些作品已不免俳偶铺陈,但没有两晋古诗的抽象议论,尤其是开头和结尾大体能够保持汉魏乐府的语言风格。当然,鲍照的代乐府最关键的还是抒情视角的普世性,即无论其中包含了多少个人寄托,基本上仍是采用代言体以及与此相应的传统抒情主题:鲍照代乐府古题的抒情都是从普世性的感受出发,所以这些代乐府题的主题内容都不出于生死感叹、去乡远游、人情亲疏、离别相思、从军赴边、游览京洛等汉魏乐府的传统题目范围,没有具体而特定的事件或背景的交代,没有倾诉感情的具体对象,触发感叹的真实原因隐藏在巧妙的比兴以及那些虚构的人物和场景之中,个人特殊的思想矛盾若隐若现地寄寓在人们共同的感受之中。总之,鲍照的代乐府反映了鲍照对于汉魏乐府的体式及其创作特征的深刻体认,为唐代乐府学习汉魏乐府提供了宝贵的经验。他在代乐府中的创变,特别是乐府古诗化的倾向,带来了乐府表现视角的变化,对于李白的古题乐府产生了深远的影响。

The Yuefu surrogate in Bao Zhao＇s works is a special Yuefu, which is not the restoration of the Yuefu in the Han and Wei dynasties although it includes lots of basic traditional factors. While the word ＂surrogate＂ marks its innovation on a basis of tradition, both the expression of his own meaning through old styles and the replacement of the old topic with the new one indicate the relation and difference between his parody and the traditional creation. And the exploration of the new perspective supplied by the Yuefu surrogate will give a clear understanding of the difference between the traditional one and the contemporary one as well as his different attitudes to different Yuefu styles. Most of his Yuefu surrogates are five-character ancient poems, embodying his recognition of the creative tradition in the dynasties of Han, Wei and Jin. Firstly, there are more old topics and less new ones. Secondly, the part of his works profits by the single style of the Han Yuefu favoring narrative or scene, and, by way of the design of some character or scene or plot, expresses intently his own emotion. Thirdly, some of his patterns on allegory-stirring are more approach to the Han Yuefu although this features all the ancient poems in the Han and Wei dynasties. Fourthly, just like the ancient poem and Yuefu in the Han Dynasty, he loves to sum up wise sayings full of philosophy. Fifthly, his writing is more natural than abstract, especially in his opening and closing. Of course, the most important is the universality of his lyric perspective, that is to say, adopting the surrogate style as well as the corresponding traditional themes such as the living or death, homesick or family-love, separating or re-meeting, enlistment or sightseeing, etc. All these are in the scope of traditional themes, without specific events or objects. The real touching of his emotion is concealed in perfect allegory-stirring as well as fictional characters or scenes. Therefore, his individual contradictory emotion vaguely embodies in people＇s common feeling. In conclusion, Bao zhao＇s Yuefu surrogate reflects his deep understanding of the style of the Han-Wei Yuefu as well as its creative features, and supplies the later Tang-Yuefu with valuable experiences. And his innovation in the Yuefu surrogate, especially the tendency to the ancient-poeticizing, not only brings about the diversity of the expressive perspective of the Yuefu but also give a deep influence on Li Bai＇s ancient-topic Yuefu.