失落的激情:《闲情赋》与陶渊明诗学形象的建构

Lost Passion:The Construction of Quieting the Passions and Tao Yuanming's Poetic Image

在传统的中国古典文学体系中,陶渊明和他的作品一直以恬淡、平静、自然为主要基调,但《闲情赋》的文学风格及其呈现的诗人形象,与陶渊明的传统形象大相径庭。《闲情赋》的抒情主人公情感充沛,形象生动、多情。对此,从汉魏骚赋(如曹植《洛神赋》)的影响和启发,以及东晋时期儒释道三家关于情欲的理论话语两个方面,分析了陶渊明如何、为何以“赋”这一文体进行写作,并塑造除田园诗以外更完整的自我形象。《闲情赋》的主题历来众说纷纭,笔者认为《闲情赋》不是陶渊明寄托讽谏的产物,只是单纯描写爱情,而且对象也不是陶渊明亲身经历过的爱情,而是一般化的爱情。解读陶渊明在《闲情赋》中抒发的情感不能停留在肤浅的“爱情层面”,这种感情具有普适性特点,即“追寻失落后的悲伤与惆怅”。

In the traditional framework of Chinese classical literature,Tao Yuanming and his works are predominantly characterized by their serene,tranquil,and naturalistic tones.However,the literary style and the portrayal of the poet in the Quieting the Passions diverge significantly from the conventional image of Tao Yuanming.The lyrical protagonist in Quieting the Passions is depicted with intense emotion,vivid imagery,and a passionate demeanor.This paper examines how and why Tao Yuanming chose the “fu” genre to create Quieting the Passions and developed a more comprehensive self-image.This paper is informed by two main aspects:the influence and inspiration from Fu of Han and Wei dynasties (e.g.,Cao Zhi’s Luo Shenfu) and the theoretical discourses on emotions and desires from Confucianism,Buddhism,and Daoism during the Eastern Jin period.The thematic interpretations of Quieting the Passions have been contraversial;however,it is argued that the work should not be seen as a vehicle for Tao Yuanming’s allegorical criticism but rather as a straightforward depiction of love.Furthermore,this love is not based on Tao Yuanming’s personal experiences but represents a generalized notion of love.The emotions expressed in Luo Shenfu should not be reduced to a mere "romantic" interpretation;instead,they reflect a universal characteristic of “sorrow and melancholy in the pursuit of what has been lost.”