宋人“和陶《辞》”考

“陶《辞》”在北宋最先受到欧阳修、苏轼的推重，苏轼谪海南后作《归去来兮辞》追和陶作，并致函命苏辙和作，因苏辙时当谴谪而未果。苏轼去世后，苏辙为表达对苏轼的纪念，发起了约请“和陶《辞》”的活动，同时参与者有秦观、张耒、晁补之等苏门士人。尽管和陶《辞》之举受到晁说之、王若虚等人的批评，这一行为仍起到了垂范后世的作用。通过对宋人“和陶《辞》”的系统梳理，可以探究诸人和作的动因，分析和作对原作辞境的点染与开拓，亦可见部分和陶《辞》不可避免的局限性。

On the Imitation of Tao Yuanming s Homeward Bound I Go in the Song Dynasty

Homeward Bound I Go, one of Tao Yuanming?s masterpieces, was acclaimed by Ouyang Xiu and Su Shi in the Northern Song Dynasty. Su Shi composed one ode in the manner of Tao?s work after his banishment to Hainan. Then he invited Su Zhe, his brother, to create a similar responsorial ode. However, Su Zhe did not finish it because he was sent to exile during that time. To commemorate Su Shi after his death, Su Zhe later started this proposal again . The responsorial odes were made by Su Zhe, Qin Guan, Zhang Lei, and Chao Buzhi lasting for a long time, which created a typical pattern. Through systematic textual research, this article aims to explore four types of motivation for the imitations, and to analyze the significance of the imitations in the development of the artistic conception of the original work and the limitations of some imitations.