發揮新體: 王勃樂府詩的復變

初唐詩人王勃 （650-627） 今存樂府詩只寥寥數首， 但在樂府文學史上 卻作出了重要的貢獻。 本文考察王勃樂府詩作的繼承和創新， 並論述其韻文創 作活動中所體現的詩、 歌、 賦三種文體的交互作用。 本文以王勃樂府的最出色作品如〈臨高臺〉、〈採蓮歸〉、〈秋夜長〉、〈隴西 行〉等為研討對象。重點分析作品的音樂作用和章節結構，如何配合其遊子思 婦主題以及自況之意，探討這些作品對南朝以來發展成熟的樂府作品的繼承和 創新，從而對文學史上較少注意的這方面重要貢獻，作細緻分析，試圖論述評 價其王勃樂府詩作的實踐經驗，對其自身創作的意義，以及初唐文學發展史上 的作用和意義。
The early Tang poet Wang Bo (650-27) has only a few yuefu (Music Bureau) poems extant, but made an important contribution to the history of yuefu literature. The present essay examines and evaluates Wang’s inheritance and innovation in his yuefu composition, which reveals a reciprocal relationship between the poetic forms of shi-poetry, songs, and rhapsodies. The main objects of discussion include Wang’s representative yuefu poems, “Lin gaotai” (“Overlooking from a high terrace”, “Cailian gui” (“Return from picking lotus”), “Qiuye chang” (“The autumn night is long”), “Longxi xing” (“Ballad on Longxi”), etc. With an emphasis on the music features and the stanza structures, the discussion focuses on how these devices work in the presentation of the themes on the sojourner missing his wife, the lone wife thinking of her campaigning husband, and Wang’s autobiographic discourse. The discussion will yield hints to our quest for Wang’s contribution to early Tang yuefu development, which relied heavily upon the achievements of poets of the Southern Dynasties period. Copyright © 2018 The School of Chinese, The University of Hong Kong and Center for Chinese Language and Cultural Studies, Stanford University.