略论中国赋的感春传统及其在朝鲜的流衍──以朱子《感春赋》与宋尤庵《次感春赋》为中心

在中国古代辞赋文学中,感春的传统可溯自屈原。后世对楚骚中伤春之音的祖述继承,往往因两个相关主题──时间与理想的展开,易于产生动人心魄的佳篇。朱子《感春赋》中“悼芳月之既徂兮,思美人而不见”,就是关合两者的凝炼表现。对于如何消释春愁,这在魏晋玄风影响下的赋作中,曾一度出之以真正悦乐的情调,但因个性弱化而难开生面。既忧时又乐道的情理内涵,在朱子等富文学情趣的理学家手中,获得恰当的拓展,表现出儒家情怀与骚人哀怨的融通。朱子《感春赋》在朝鲜辞赋史上颇具影响,先后出现不少次韵及和韵之作。李朝中期儒学家家尤庵的《次感春赋》在精神境界与情理容量上,对朱子原作尤具会心。究其原因,则在于“惟晦翁其不敢忘”的生命热情以及对儒家忧乐观的深刻体悟。赋的感春传统在朝鲜的流衍,是颇具文化意蕴的一个文学现象。

A Brief Study of the Spring-sorrow Tradition of Chinese Ode Poetry and Its Spread in Korea

The tradition of reflecting on the spring in the history of ode poetry dates back to Qu Yuan. Later poets inherited the sentimental voice in Chu ode poetry and, inspired by two related themes, time and ideal, composed heart-rending masterpieces. The sad voice in Zhu Xi's "Ode to Spring", "I am so sorrowful/No longer the moon full/No more my girl", achieves the total unity of time and ideal. As to how to relieve springtime sorrow, ode poetry composed to the mystic bends of the Wei and Jin dynasties was whiten with a tone of genuine joy, but failed to become popular be- cause of character weakness. Poetry with a tone of sorrowful joy was developed in the hands of Zhu Xi and other idealist Confucianists, radiating Confucianist feelings and on Yuan-style sorrow. "Ode to Spring" exerted a peat influence on the history of Korean ode poetry, and many pieces were com- posed following the thyme used by Zhu. Song Si-yul's "Secondary Odes to Spring" is the most out- standing imitation of zhu's" Ode," because of his" never- forget- who- taught- me" enthusiasm and deep understanding of Confucian values of joy and sorrow. The spread of the tradition of spring-sor- row ode poetry in Korea is a literary phenomenon with deep cultural meanings.