失落的激情: 《闲情赋》与陶渊明诗学形象的建构

 In the traditional framework of Chinese classical literature, Tao Yuanming and his works are predominantly characterized by their serene, tranquil, and naturalistic tones. However, the literary style and the portrayal of the poet in the Quieting the Passions diverge significantly from the conventional image of Tao Yuanming. The lyrical protagonist in Quieting the Passions is depicted with intense emotion, vivid imagery, and a passionate demeanor. This paper examines how and why Tao Yuanming chose the “fu” genre to create Quieting the Passions and developed a more comprehensive self-image. This paper is informed by two main aspects: the influence and inspiration from Fu of Han and Wei dynasties (e.g., Cao Zhi’s Luo Shenfu) and the theoretical discourses on emotions and desires from Confucianism, Buddhism, and Daoism during the Eastern Jin period. The thematic interpretations of Quieting the Passions have been contraversial; however, it is argued that the work should not be seen as a vehicle for Tao Yuanming’s allegorical criticism but rather as a straightforward depiction of love. Furthermore, this love is not based on Tao Yuanming’s personal experiences but represents a generalized notion of love. The emotions expressed in Luo Shenfu should not be reduced to a mere "romantic" interpretation; instead, they reflect a universal characteristic of “sorrow and melancholy in the pursuit of what has been lost.”