中西田園詩比較：加爾西拉索•德•拉•維加與陶淵明詩作分析

<p>詩歌是人類歷史上最古老的文體，它幾乎與人類文明同步出現。然而，由於歷史文化和民族性格的差異，中西方的文學作品往往風格迥異。即使是同一文學體裁，中西方文學的風格也可能大相徑庭。本文將選取西班牙黃金時代代表詩人加爾西拉索．德．拉．維加和中國第一位山水田園派詩人陶淵明的部分作品加以分析對比。分析詩歌的表現手法和內容等方面的異同點。結合各自的社會環境和文化傳統，最終得出結論&mdash;&mdash;影響異同點產生的因素。</p> <p>&nbsp;</p><p>The poetry is one of the oldest forms of literature. It was born almost simultaneously with human civilization. However, due to the differences in historical culture and national character, the style of the same literary genre may be different in China and in the West. This work will analyse and compare some works of Garcilaso de la Vega, a Spanish poet of the Golden Age with some poems of Tao Yuanming, the first Chinese poet of idyllic poetry. The similarities and differences in the expression and content of poetry will be analysed, combining their respective social contexts and cultural traditions. Finally, the conclusion will be reached: what are the factors that contribute to the similarities and differences.</p> <p>&nbsp;</p>

Tao Yuanming in Recently Unearthed Epitaphs from the Sui and Tang

A recently discovered collection of epitaphs (muzhi 墓誌) reveals copious references to Tao Yuanming (Tao Qian 陶潛, 365–427), a writer of pervasive influence on Chinese culture. In recent decades, both English and Chinese scholarship has focused on Tao's literary and historical reception, with little attention paid to his representation in epitaph writing. This article, through an examination of these newly unearthed documents, presents forty-seven epitaph fragments with direct mention of Tao's name. Most were written in the Tang dynasty, when Tao was ardently appreciated as a poet, and his literary vocabulary was widely borrowed and imitated. However, a close reading of epitaphs illustrates that Tao's image as a moral exemplar was perhaps even more prominent than his role as esteemed poet. He was invoked to suggest the comparable personal traits of the tomb owner (muzhu 墓主), his name frequently juxtaposed with various historical figures renowned for their virtue. His name is also used as an adjective to modify carefully selected images to further characterize him as a moral exemplar. In Tang epitaphs, moral concerns together with philosophical contemplation on the motives of reclusion play a significant role, laying the foundation for the complexity of Tao's image in the Song period. Current research seeks to increase our understanding of the process behind the construction of Tao as a cultural icon.