【作者】 郑慧霞；

【导师】 薛天纬；

【作者基本信息】 华东师范大学 ， 中国古代文学， 2007， 博士

【摘要】 本文分两大部分，第一部分为卢仝诗注，第二部分为卢仝综论。卢仝诗注部分，以目前所能见到的卢仝诗集最早之善本——明陆涓本为底本，参校明清以来众多本子和有关卢仝诗集之诗歌选本、诗话和笔记等，在孙之騄《玉川子诗集注》基础上，对卢仝诗进行注释。并把有关卢仝诗之评论，进行辑录。在对卢仝诗注释过程中，尽可能地对时代背景、诗人身世、交游、行年等作出考证，以求具体而微的对卢仝诗达到相对可靠的把握。卢仝综论部分，除引言和结语外，共有六章。引言部分交待了选题缘起、研究现状、研究方法及其可行性和本研究内容。指出：(一)卢仝在中国诗歌史上的地位，从唐代到近代，都是非常重要的。而奇怪的是，很久以来，这位不容忽视的诗人恰恰在某种程度上被人们贬抑或忽视；(二)许多研究者对卢仝虽给予关注，但与韩孟诗派的其他成员如韩愈、孟郊、贾岛等相比，却是非常有限的，好像他只是韩孟诗派的一个可有可无的附庸。(三)这种局面的形成，当归因于卢仝的诗作不像白居易那样用平易的诗语极力强调突出诗歌的功利性，故在片面强调文艺为现实、为政治服务的年代，就难以为人们所注重。(四)事实上，卢仝诗歌和现实有着非常密切的关系，最突出的表现在两个方面：一是文学方面的影响，体现在《月蚀诗》等以怪异题材影射时政的写作手法上；二是文化方面的影响，因《走笔谢孟谏议寄新茶》中对饮茶绝妙的描写，卢仝和“茶圣”陆羽共同成了中国茶文化的象征。故本文试图对其生平进行爬梳，评价其诗歌的思想意义和艺术风格，评议卢诗所产生的广远影响等，以求给予他与其诗歌成就相称的文学评价。第一章通过对卢仝的生平进行考述，包括对籍贯、死因和生卒年、居处、交游等的辨析，得出结论：(一)济源当为卢仝籍贯，范阳乃为卢仝郡望，洛阳本为卢仝久居之地。(二)卢仝是否死于唐文宗大和九年(835)的“甘露之变”，虽为悬案，但无碍于读其诗，也无碍于理解诗人反对宦官的政治态度。二说可并存。(三)卢仝生年说法颇多，主要有以下几种：一主795?年左右说；一主790?年左右说；一主775?左右说；一主778?年左右说；一主770?年左右说；一主769?年左右说；一主不详说。关于卢仝生年诸说之结论不同，除因对涉及诗人身世之诗理解不同外，另一主要原因在于对诗人之死看法各异。(四)通过对卢仝有关居处进行考察，可以确知卢仝早年曾居于扬州，且薄有财产。后从扬州迁居济源，隐居读书。读书期间或曾到过长安干谒，未果后，或曾到过塞上以求建功立业。后卜居河南洛阳里仁坊，其间与大诗人韩愈等曾游天封观等地。元和六年(811)冬，从洛阳南行扬州卖旧宅，以还买洛阳宅所欠债务。南行途中，曾被瘴气所染而卧病。这极大的损害了诗人的身体健康，主不死于“甘露之变”说者多以此为诗人辞世之因。(五)卢仝的交往除去韩孟诗派诸人与方外之士，所剩无多。这一方面缘于卢仝孤僻的性格，更主要的还在于其自许甚高，落落寡合，这对于其诗风的形成，有着深刻的影响。第二章重点探讨了卢仝诗歌的思想内容，可以分为五个方面，分别是“学者的用世情怀”、“儒者的仁爱思想”、“‘愚公’的愤世情怀”、“‘山人’的隐居情趣”、“或有所寓托之作”，其中儒者渴望学而有为于世，构成了卢仝愤世嫉俗的内驱力。用世不成，转而做一“愤世”之“愚公”，或一疏放之“山人”，在“愤世”和疏放所构筑成的颓放中，卢仝间或借风华婉转之篇章曲传政治落寞、人生失意的感慨。第三章重点探讨“卢仝体”的审美风格，虽然“卢仝体”的产生，自与其所处的时代有着密不可分的关联，但本章则是把卢仝最具感性内容和色彩的因素作为探讨对象，对卢仝体的表现特征、卢仝体的审美内涵和卢仝体的审美情趣进行了比较集中的分析，从而得出结论：卢仝以其飞扬不羁的个性，任情驱笔，“怪”中自有多种审美情趣和内涵存在。第四章对卢仝体的影响进行了历时性的爬梳，分别对其在宋、金元、明清时的影响作出考察。指出强烈的个性化特征，是卢仝诗歌存在并产生深广影响的基石，但这并不意味着它是孤立存在的绝缘体，它与文学史的发展从来就存在着一种深刻复杂的联系。中国文学的历史，浩瀚苍茫，此爬梳无疑于沧海一粟，但借此则可窥见到卢仝对后世深刻巨大的影响。第五章对卢仝诗集版本进行考述，指出卢仝作品在宋初已流入民间，曾多为传刻。但惜乎宋本皆不存。卢仝诗集在宋代所分三个独立系统：即一卷本系统、二卷本系统和三卷本系统。一卷本今已无可考；二卷本在明代正德年间仍有刊刻流传；三卷本流传最广。清代，朴学大兴，卢仝诗集得以流布四方。第六章对卢仝的“春秋学”著作——《春秋摘微》的历代著录情况进行了简略的考述，在此基础上对其内容概貌和风格特点进行探讨。结语部分则结合时代背景、社会环境等对卢仝和韩孟诗派的诗歌创作中的共性进行简略概述，这样与前几章就构成了互补的关系，即卢仝身为韩孟诗派重要成员，既与该派其他成员的诗歌创作有着共性，又有着极其鲜明的个性，这才是本文的研究目的所在。更多还原

【Abstract】 This paper falls into two parts: the first part is about the notes to Lu Tong’s poetry; the second part is a comprehensive study on Lu Tong. The first part, the notes to Lu Tong’s poetry, is checked against the text from the silk scroll of Ming Dynasty, the earliest and best edition of Collection of Lu Tong’s Poems available so far, and proofread against the notes, poetry criticisms and selected works concerning collected poems by Lu Tong, on the basis of the noted edition Anthology of Yu Chuanzi by Sun Zhilu. In addition to the notes, this part also compiles some comments and reviews on Lu Tong’s poems. The process of annotating Lu Tong’s poems facilitates the textual research on the historic background, family background, the art of making friend of Lu Tong, which can render a relatively better and more reliable comprehension of Lu Tong, and thereby a good grasp of the theoretical depth concerning the research on Lu Tong..The second part consists of six chapters, besides the introduction and conclusion. The introduction gives reasons for selecting the subject, making an account of the present situation of the study on Lu Tong, the research method and its feasibility, as wall as the research project. The author points out that: firstly, Lu Tong occupies an important position in the history of Chinese poetry from Tang Dynasty till the modern times. However, what is out of people’s expectation is that such a poet not to be ignored has always been belittled and neglected; secondly, quite a lot of attentions have been paid to Lu Tong, yet compared with the other members of the Han-Meng Poetic School, such as Han Yu, Meng Jiao, Jia Dao, etc, the concerns seem to be rather limited. It is as if Lu Tong was a foil to Han Meng School which can be easily overlooked; thirdly, the reason for such a prospect can be attributed to the characteristics of Lu Tong’s poetry. His works do not underline the utilitarity of poetry with plain language, as what Bai Juyi is doing. In the days when literature and art were made to serve the reality and politics, no much stress is put on his writing; fourthly, there is a close tie existing between Lu Tong’s poetry and the reality, which can be illustrated in two aspects: one is the literary influence, which finds expression in the writing techniques of Lines on the Lunar Eclipse, alluding to the political situation of the time with peculiar subjects. The other is the cultural influence, owing to the author’s fantastic description on drinking tea in Composing a Poem to Show Appreciations for Meng Jian Who Suggests a Delivery of Fresh Tea, Lu Tong, together with the "Tea Sage" Lu Yu, is regarded as the symbol of Chinese tea culture. Therefore, this paper attempts to comb through Lu long’s life, assess the ideological significance and artistic style of his poetry, as well as the profound influence it has exerted on later writers, thereby a proper literary evaluation corresponding to his achievements in poetry can be obtained.Chapter One draws conclusions from a brief account of Lu Tong’s life, which includes his birthplace, cause of his death, years of his birth and death, his residence and way of making friends, etc. One, Ji yuan is the birthplace of Lu Tong, Fan yang a county he once lived in and Luo yang the place he stayed for a long time. Two, whether Lu Tong died in the "Sweet Dew Conspiracy" the ninth year in Da he (835), during the reign of Wen Zong of Tang Dynasty, is an unsettled case, yet it does not affect the study on Lu Tong’s poetry, nor does it prevent the comprehension of the poet’s political attitudes of opposing the eunuch in the court. The two theories can coexist. Three, proposals for the year of Lu Tong’s birth diverge, which mainly fall into the following versions: one opinion advocates the year around 795, one around the year 790, others around 775, 778, 770 or 769, and one claims it to be unidentified. The conclusions on the year of Lu Tong’s birth differ, except for that the different understandings of the poems involving the poet’s life should be considered, the reason primarily lies in the different opinions on the poet’s death. Four, through the investigation on Lu Tong’s residence, we are convinced that Lu Tong once lived in Yang zhou in his earlier years, and he possessed a little fortune. Then he moved away to Ji yuan to study in seclusion, during which time, he occasionally paid formal visits to Chang’an, but in vain. He had once been to the area beyond the Great Wall, in the hope of making great contributions to the country. Later, he settled down in Li ren Lane in Luo yang of He nan Province, during which time he visited Tian zhen Temple and other places with the great poets such as Han Yu, etc. On the winter of the sixth year of Yuan he (811), he headed for south to Yang zhou from Luo yang to sell his old residence, in order to pay off the debts he owed when he bought the house in Luo yang. On his way to the south, he was confined to bed for being infected with miasma, which did great harm to his bodily health. The proposal which insisted that Lu Tong was not killed in the "Sweet Dew Conspiracy" takes this as the cause of his death. Five, except for the various poets from the Han-Meng Poetic School and some Buddhists, Lu Tong does not keep a large circle of acquaintances. This, in a sense, is due to his personality as an unsociable and eccentric person. What’s more, he always takes pride in his own intelligence, and holds himself aloof from others, which have a direct impact on shaping his style of writing.Chapter Two focuses on the ideological content of Lu Tong’s poetry, which can be divided into five sections: "the learned person’s wish to be accomplished in the world", "the Confucian scholar’s theories on humanity", "the cynical thinking of the Foolish Old Man", "the hermit’s fondness of seclusion" and "to have a masterpiece which can embody all his talents". Among them the desire "to be accomplished in the world" of the Confucian scholar forms an internal motive to Lu Tong’s cynicism. Being not able to achieve his goal, one tends to become a cynical Foolish Old Man or an alienated hermit. In the abandon and dissolution rendered by cynicism and seclusion, Lu Tong conveys his loneliness in politics and his sentiments on the frustrating life with his elegant and tactful verses.Chapter Three concentrates on the aesthetic characteristics of "Lu Tong Style". Though the formation of such a style is closely connected with the age the poet lives in, yet this chapter takes as its subject matter the factors with the biggest proportion of perceptual touch and substance to make a relatively more concentrated analysis on the manifest characters, aesthetic connotations and taste of "Lu Tong Style". The conclusion from the above analysis argues that various aesthetic appeals and connotations lie behind the "peculiarity" of Lu Tong, who, with his wild and unrestrained personality follows his own inclinations while writing.Chapter Four is a diachronic comb through Lu Tong’s influences. It investigates his influence in Song, Jin, Yuan, Ming and Qing Dynasties respectively, pointing out that the strong individualized feature serves as the basis of the existence of Lu Tong’s poetry and the far-reaching influence it exerts. However, this does not mean that his poetry is an isolated insulator to the society; on the contrary, there is a profound and complicated relationship between Lu Tong’s writing and the development of literature. The history of Chinese literature is as vast as an ocean, so this kind of study is undoubtedly a drop in the ocean, yet from the perspective such a study provides, we can gain an approach to the enormous impact Lu Tong has on the later ages.Chapter Five gives an account on the origin and development of the editions of Lu Tong’s poems, making it clear that Lu Tong’s works had been spread far and wide among people and even been circulated and block-printed for many times in early Song Dynasty. Yet it is a pity that the Song Edition was lost to the world. The anthology of Lu Tong’s poems is made up of three independent systems: the first volume, the second volume and the third volume. The first volume is irretrievably lost, the second volume was spread and printed during the year of Zheng de of Ming Dynasty, and the third one is the most widespread. During Qing Dynasty, the plain learning—textual study of the Chinese classics was prosperous, so Lu Tong’s poetry was able to spread far and wide.Chapter Six is a brief account on the records of the past dynasties on Notes To the Spring and Autumn Period, a representative work of Lu Tong’s "Study on the Spring and Autumn Period", on whose basis, the general picture of its content and style is discussed.The conclusion briefly summarizes the common qualities of the poems composed by Lu Tong which belong to the Han-Meng Poetic School, integrated with the historic background, social environment, etc. In this way, it constitutes a complementary part with the previous chapters. That is to say, as an important member of the Han-Meng Poetic School, Lu Tong’s writing not only shares some common qualities with the other members of this school, but also possesses a distinctive individuality. This is what the author’s research is aiming at.更多还原