仙遊·貴遊·夢遊——李白供奉翰林的謫仙身影及其遇合困境

A Quest for Transcendence, A Quest for Honor,A Quest for Dreams: The “Banished Transcendent” Veneer of Li Bai during his Service at the Hanlin Academy

本文透過李白入京供奉翰林前後的相關觀照,大體可以略窺李白追夢長安的謫仙身影背後,存在著漢代賦家馬、揚及東方朔等人的深刻文化召唤;至於藉由李白入京之前泰山仙遊書寫的帝王封禪及其遇合隱喻,與供奉翰林之際《清平調三首》的始於瑶臺王母及巫山神女的相關遇合隱喻,與去朝離京之後夢遊天姥書寫的長安驚夢,適可映現李白由追夢長安歷程仙遊、貴遊與夢遊前後鋪陳的謫仙三部曲。

Studying Li Bai’s works and circumstances before and after his service at the Hanlin Academy,this essay observes a deep-rooted cultural echo of the two fu writers of the Han,Sima Xiangru(179 BC-117 BC) and Yang Xiong(53 BC-18 AD),as well as that of Dongfang Shuo( ca. 154 BC-93 BC),behind Li’s reminiscence of his adventure to Chang’an in the disguise of a 'Banished Transcendent.'A trilogy on Li Bai’s reminiscence of his quest for transcendence,for honor,and for dreams in his Chang’an adventure may be established. This trilogy is comprised of: 1) his transcendent roaming to Mt. Tai prior to his journey to the capital,with the feng and shan rituals performed by the emperor,which metaphorically represent the poet’s talent being recognized;2) his three'Qingping diao'ci-poems composed at the Hanlin,which start with the Western Queen Mother of the Jade Terrace and the Goddess of the Witch Mountains,as a metaphor for the poet’s talent being recognized;and 3) his writing about a dreaming journey to Mt. Tianmu as a metaphor for awakening from his Chang’an dream.