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E 9l 革攝宙揖I¥J油器(waJP ad ..l. D;)) r滋生 t壘:Il~ J區申國一耳垂264 教學與研究第入期
varied and complex in these areas. Therefore,in the present paper,I feel satisfied just to describe these two .forces within the general poetics of carpe diem poetry instead of attacking them on the front.
The beginning of the carpe diem poetry may be seen as the first sign of culrure's own maturity wherein man became self-conscious,became aware of the transient character of life,with existential anxiety. This carpe diem cry was heard everywhere in the ancient world, in Egypt, in India, in Greece,and in China. It is evident that the carpe diem has already established itself as one of the important motifs in the Greek lyrics of the seventh and the sixth century B. C. as seen in Anacreon,in the Anacreontea,and in a number of
carpe diem lyrics as collected in the Greek Anthology. The significance of the motif
ex-tended to the Roman period,whose carpe diem spokesmen were Catullus and Horace. This Greek-Roman carpe diem tradition received quite a complete revival in the Renaissance in both Europe and England although it never ceased as an influence through the Middle Ages. Two extended researches on the Greek-Roman tradition, its continuity in the Medieval Time, and its revival and modifications in the Renaissance, especially in the English lyrics of the seventeenth century, have been done in the traditional scholarly approach (Wellington 1956; Candelaria 1959). As shown in both researches,Wellington's in particular,the carpe diem types as provided in the Greek-Roman antiquities, namely,
the Anacreont此， the Catullan,the Horatian,the libertine,the naturalistic,and so on,fit
the later carpe diem lyrics surprisingly well. To be sure, the continuity of the Western
carpe diem tradition should not be taken to mean the denial·of innovations and changes
made to the tradition.
T~ere is no reason not to presume that the Chinesecarpe diem poetry did not sprout
out from its own soil. In the Chou 周 balladsas collected in theShih-ching 詩經，a female speaker,mourning for the fleeting time and youth,chants in a balladic tone:
擇、有梅 園僅壁之 求我 m 士
過其謂之 ( r 標有梅 J
)
Strike! Strike! The plumes,
All in my bamboo basket,remain on tree no more! Those gentelmen who would like to win me,
建立一個中西「及時行樂 J (carpe diem) 詩歌的詩學模式
And a male speaker in another song sighs,
蟋蟀在堂 歲聿其莫 今我不樂
日月其除 ( r 蟋蟀 J
)
Crickets enter the hall;
The year draws to a halt.
If I do not merry,
The sun and the moon pass over. (“The Crickets")
or
in another song,山有漆，照有栗;
子有酒食，何不日鼓瑟? 且以喜樂，且以永日。
宛其死矣，他人入室。( r 山有樞 J )
Mountain with varnish trees. Swamp with chestnuts. Why not play lute and enjoy day long
While good food and wine ye have? Merry!
When ye die,somebody else thine home will occupy.
(“Mountain withElm~")
265
百lese carpe diem voices of the Chou ballads were heard no more in many centuries to
∞me， except some faint echoings.
Suddenly, with the decline of the Han Empire,a new voice of carpe diem, which is
more solemn and earnest in tone,burst out,as recorded in theNineteen OldPoems 古詩十
九首. Three out of the nineteen are full carpe diem poems while the motif of the fleeting
time pene訂atesthe majority of the group. This intense frequency,three out of nineteen,
may be seen as an index to the flourish of the carpe diem motif in that time. The
grave-mound depression, the underground eternal sleep,the long journey passenger metaphor,
the boarding metaphor,the morning dew metaphor,the distrust of the Taoist and
Con-fucian immortality,the night tour with torch,wine and good clothes, all these laydown
the basic tenets of the Chinese carpe diem poetry of serious type. This carpe diem voice
was immediately echoed in the Wei 魏 Dynasty， especially in the poetry of the
emperor-poets of the Ts'ao 曹 Royal Family,and in theChin 曹 Dynasty，with some modifications.
266 教學與研究第入期
可
the love or amorous motif as seen in the Tzu-yeh Ballads 子夜歌 and the Tzu-yeh Ballads
of FourSeasons 子夜回時歌 collectedin the Yαieh-fu 樂府一一thesetwo groups of ballads
are primarily from the Chin 晉 Dynasty but may also include the ballads of two
suc-ceeding dynasties,the Sung 宋 and the Ch'i 齊.The speakers are usually female,in
affec-tion and in the undertone of the fleeting time,uttering a praise over the beauty of youth
time, a sigh over her loneliness and melancholy in the sprirtgtime of life,or wooing her
lover to seize the day,or describing a carpe diem amorosity一 -withher lover indoors with
music and with torch in the bitter winter night.
The ·carpe diem poetry became to decline afterwards. This contradicts my original
expectation since the short dynasties to come were the times notable fer their sensual
pursuits. On reflection,I become to think that the carpe diem anxietymight be eventually
driven into oblivion when mem became totally indulging themselves in the pleasure
although the anxiety itself was the original cause of their pursuit of the pleasure.
The carpe diem motif, i且 both East and West,will never come to a complete stop,
but always reaches out for another flourish when such an existential anxiety must be cried
out loud again. Yet, my historical survey must stop somewhere and I decide to stop so.
And indeed all the primary types in both traditions had been set up since the periods
covered in this paper.I have privileged theαlinesetradition in my survey,and in fact this
is the first research of Chinese carpe diem poetry of any considerable length. The
resem-blance and the difference between these two traditions give a promise and a challenge to
a general poetics of carpe diem poetry,and provide a rich訂閱 forus to observe the force
of iconicity and the force of conventionality. The universal practice of carpe diem poetry
seems 10 endorse its iconicity (i.e,naturnalness) while the fact that the carpe diem is only
one of the possible responses to the fleeting time reveals at the same time its
convention-ality. Meanwhile, an iconism can be seen in the abundance of carpe 'diem tropes,which
penetrates both traditions. The relation between these two forces in the carpe diem poetry
is complex and will be substantially discussed in the conclusion of the paper.
2) The Carpe Diem Time
As we talk,time spites us
and runs; reap today; save no hope for tomorrow.
--Horace,fromOdes 1:11
生年不漏百 長懷千歲憂
建立一個中西「及時行樂 J (carpe diem) 詩歌的詩學模式
晝短苦夜長
何不秉燭遊
一一古詩十九首之十五
Man's years fall short of a hundred?
A Mind to thousandye位sworries his heart.
If the day is short and the night too long,
Why not take the torch and go touring?
一一 fromNumber 15 ofthe Nineteen Old Poems
267
Carpe diem is one response to the fleetingt卸leo This preliminary definition endorsed by both traditions reveals both the force of iconicity and the force of conventionality.
The universal practice ofcarpe diem poetry,which gives evidence to the force of iconicity,
does not blind us from the fact that t油le is not necessarily fleeting and the carpe diem
response to it is only one of the many possible modes. Indeed,time does not escape from
its semiotic nature; even the so-called objective time as perfected by science is in the last
analysis an expression of human; or semiotic, desire. The carpe diem time is only one
time paradigm among others. Without going out from peotry,we may find a time paradigm
completely different from the carpe diem time, which we may call temple time,as
ex-pressed in the temple poetry of theShih-chingwhere time is frozen as timeless,patched up
as a continuity,by a filiallinking back to the ancestors and by a shadowing extension to
the descendents. Time of the ancestors and the time of the descedents are brought to the
present without a break in the temple perception. It is against this temple time and other
possible time paradigms, for example,the mythical time, that the carpe diemotime takes
on its meaning.
The carpe diem time constructs its own paradigm. Time is fleeting,unredeemdable,
and stops at the end of life. A number of binary oppositions,with a particular alignment of
value, may be defined. Life is in opposition to death: while the time before death is
cherished,death is described as eternal .darkness and sleep,with dread. In the span of life
time, a primary devision is made: the opposition between youth time and old
age--childhood is totally ignored. Youth is always good,not only good in its own terms but also
hysteriously good in the threat of the dread old age and death,which are projected upon
the present as if they were coming immediately.Ifthe past is taken into account,we shall
be told that “How long are man's years? Brief as the morning dew; and the days past
are一斗。h ， bitter--already too many!" (Ts'ao Ts'ao,“Short Song")人生鵲何，譬如朝餌，去
「
教學與研究第入期268
fleeting and the threatening of time: “And this same flower that smiles today
,/
Tomorrowwill be dying." (Robert Herrick,“To the Virgins,To Make Much of Time")Time is
com-pressed into a single moment" and the process,namely,the beginning,the middle,and the
end,is left out as 芷江 did not exist. This close system defines the semiotic nature of the
carpe diem time: the time segments find their meanings in opposition to each other in a system.
But time must be regained and conquered. The measurement of time is no longer the
objective counting of days and ye缸s. To cite just two examples among the many,we are
told by Ben Jonson irr the West that
“
Hee,that but living halfe hisday郎，dies such,/
Makes'twas given, much" (The Under-Wood, LXXXIX) and by Wang
Hsi-in the East that
“
To seek pleasure in a day,/Eq
uals to living for thousandyears." (“世間 OrchidPavilion Poems") 取樂在一朝，寄之齊千齡( r 蘭亭詩 J )
doubled when it is enjoyed and conquered. Time lost (fleeting) andTime regained (seized)
Time is n e h 4 •• -TA 晦之 h 羲 起王 Hh hh huplv
eventually constitute the ultimate binary of the carpe diem time. This conquering sense of
carpe diem interacts with its pessimistic overtone and generates a dynamic tension between
them. Indeed, this is where the strength of Andrew Marvell's famous conclusion lies.:
“世1間， though we cannot make our Sun/Stand st血， yet we will make him run." (“To His
Coy Mis甘ess")
τbe cdrpe diem time has established its own iconism. Time is seen in the mutability
of nature and in the mutability of the human world. Nature and the human world may be
加 parallel and may be in contrast. In the former, a natural image is to symbolize the
mutability of human liLe as in the 卸lage of withering rose and morning dew. In the latter,
nature is projected as something eternal and cyclical while the human world is taken as
ever changing and unredeemdable:
“
The Sun dies every night/in the morning he's thereagain/you and I, now,/ when our briefly tiny light flicks out
,/
it's night for恥，one single/everlasting/Night." (Catullus,No.5)
time paradigm have developed their own
Most time segments in the carpe diem
tropes,which become rather conventional now. When aligned to value,these time segments
can be put into two grou阱， the positive (life,youth,the present)and the negative (death,
age, the future). The tropes for the positive group are always metaphors while those for
the negative group are more often metonyms (including the use of synecdoche). Yet,it
is revealing that the positive value is not fully expressed,or even totally ignored,in these
metaphors. The flower metaphor and the fruit metaphor may express a sense of beauty
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Prince Ch'iao,thatTaoist 卸lmortal一
There is little hope of matching him.
271
Indeed, the presence of these two modes of immortality in the examples is bound up
with the distrust of Confucianism and with the vogue of Taoist practice for immortality,
bound up with the urgency of the morning dew metaphor and the gravemound depression,
bound up with the decline of the Han empire and the cpnsequent wars and disasters,and
bound up,we shall 圓y ，with the sudden flourish ofcarpe diem poetry of China.
The phenomenon of carpe diem negation can be also seen in the Western tradition.
But the focus is not placed on mortality-immortality opposition but on some other
humanistic levels which are harmful to the carpe diem pursuit. For example,war is the
negated element in Anacreon (No. 116, quoted in the beginning of the section), so is
moralist view in Catullus (No.5), and earthly powers in Herrick (“On Himself'). These
negations are integral to the poems where they appe缸，but less essential to thecarpe diem
struggle than the mortality-immortality dichtomy. Presumedly, the dynamic power
generated in the carpe diem negations is in proportion to the tension given in the n句a
tions,and this explains the fact that I have been drawn to the Chinese tradition and have
used it as point of departure in this section.
4) TheCarpe Dien Assimilation
Then gather flowers in their prime,
Let them not fall and perish so; Nature her bountyes did bestow On vs that wee might vse them: And Tis coldnesse not to vnderstand
What shee and Youth and Forme perswade
WithOppertune 旬， that屯 made
As we could wish it.
一一SirWalterRale嶼，“Tohis1ρvewhen hee had obtained Her"
今我不為樂 知有來歲不 命室攬童弱 良日登遠遊 一一陶淵明， r 酬劃柴桑」 國
272 歡學與研究第入期
If I do not seek pleasure today,
I am not sure of the coming days.
I orlier my wife to bring with the children And set out for an excursion in a good day.
一-TaoYuan-ming,“Reply to Mr.Liu Ch'ai-sang"
百Ie carpe diem motif has projected itself upon other motifs to assimilate and to be
assimi-lated. In this light,the varied types ofcarpe diem poetry of the West (Wellington 1956) are
results of the carpe diem assimilation. All of them are motif complex,which,to have a
better view of them,can be decomposed into carpe diem motif and other motifs on the
structurallevel.
Take the Catullan seduction frrst.To begin with,it is a combination of thecarpe diem
motif and the motif of seduction. But the seduction motif,wemay 回y ，is one of the
sub-motif of love sub-motif as a paradigm. On the other hand, the seduction motif is itself a
paradigm, which in the carpe-diem world contains at least three members,the Catullan,
the libertine, and the naturalistic. Further,the seduction implies another motif,namely,
the motif of persuasion,no matter if this persuasion is a Catullan courteous invitation,or a
shameless libertine threat,or a naturalistic exposition. To move to a larger context,these
three modes of persuasion shall bear a relation to other modes of persuasion which have
been established,for example,the Platonic and the Provencal persuasions.
The motif common to both the Anacreontic and the Horatian carpe diem types is
the motif of conviviality as suggested by Wellington,which covers drinking,conversation,
music,love,company,and so on. Surely,,the Horatian and the Anacreontic type can not
be distinguished ft:om each other on this level.四Ie way out is,as usual,to find a way to
decompose the motif and lower down the combinational level until we are at the level on which their distinctive features may be revealed. Take the drinking motif for example. We may decompose the motif in connection with the binary of heavy drinker (drunkenness)
and light drinker (soberness) as traditionally suggested,or with the problem of
genre--whether or not combined with drinking song. On these two levels, we are able to
dis-criminate the Anacreontic from the Horatian type. A structural description ofAnacreontic
drinking carpe diem would be: carpe diem + conviviality + drinking + heavy drinker
(drunkenness) + literary genre (drinking song). 訂閱 Horatiandrinking carpe diem shares
with the Anacreontic type the first three features but is distinguished from it in the last two.
convi-'
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5) The Syntactic and Verbal Components·ofCarpeDiem Poetry
Go,lovely rose,
Tell her that wastes her time and me,
That now she knows,
When I resemble her to thee,
How sweet and fair she seems to be.
一-Edmund Waller,“Go,Lovely Rose"
年少當及時 蹉跎日就老
若不信儂語
但看霜下草
一一子夜歌之十六
Seek pleasure while you are young;
Tarry,you shall grow old day by day.
Ifyou do not believein-my woman's words,
Need only to look at the grass under the frost!
一-Tzu-yeh Ballads,No. 16
We observe that carpe diem poetry is persuasion-oriented and this orientationfinds
expression in the syntactic (structual) and verbal particularties. In terms of the
Jakob-sonean speech model (Jakobson 1960),it is the addressor-addressee dialogue that motions
the carpe diem structures and verbal expressions,in company with those poetic features
common to poe仕y 凶 general.世le presence (both explicit and implicit) of an addressee is
the essential structural feature of carpe diem poetry. The addressee may be\lctual (for
example
,
in Horace's poems) or 卸laginary;may appe缸 in name (for example,
Leucono 已in Horace's famous ode) or in the second person pronoun (you, ye, etc.); may be the
addressor himself appearing in the first person pronoun“I" (for example,“TheCrickets,"
Shih Ching). If any of these explicit forms of an addressee is not seen in a carpe diem
poem, an addressee without a name can still be strongly felt due to its syntactic and
verbal particularities which enunciate the presence of such an addressee. In this case,the
inlplied addressee can be identified with the addressor hinlself; that is to say,the addressor
is addressing to hinlself as an addressee. In the Chinese poetic tradition,the first person
“
I" is often omitted, especially in the poetry since the Han dynasty. In view of this,thepresence of
“
I" in the Chou ballads and the absence of“
I" in the examples from the建立一個中西「及時行樂 J (carpe diem) 詩歌的詩學模式 275
toh加lselfin a persuasive mode. ‘
The persuasive nature of carpe diem poetry is embodied in the addressor-addressee
di
,
dogue as already observed. Obviously,an addressee in the second person is essential tothe amorous types, the‘seductions in particular,in both Eastern and Western traditions.
For the comparative interest,we may note in passing that the second person addressee is
usually a female in the Western carpe diem tradition,while in the Chinese counterpart,it
is the male that takes up the role of the second person addressee. Another ∞用parative
point may be noted: in nor卜amorouscarpe diem poems,the Western tradition favors an
addressee of second person while the Chinese tradition prefers an addressee in the first
person. These differences between two traditions are a matter of choice, a matter of
convention司 andperhaps also a matter of social variance.
If we would like to stretch our conception of this addressor-addressee dominance a
little further, we may say- the device of dual dialogue and mixed addressee is a
pheno-menon of assimilation,that is to say,the component parts of a carpe diem poem become
dialogized because of the dialogue nature of the genre. Edmound Waller's “Go, Iρvely
Rose," an example prepared in this section, is a case at hand. The poem is a dual dialogue
in which the rose plays a dual role: it is an addressee in relation to the poet and addressor in relation to the lady to whom the whole message is addressed.
The persuasive orientation is correlated with the particularities on the syntactic and
verbal levels. The most common devices are perhaps the subjunctive argument,the
con-ditional argument,and some persuasive,argumentative verbal markers,such as“and then,"
“why not,"“better,"“let us,"and so on. Marvell's “To His Coy Mistress" is perhaps the
best example of the subjunctive argument, in which a timeless antI endless world is
pte-sented in the subjunctive mood,to be negated of∞urse. 百leconditional argument applies
to a great variety of situations and therefore very powerful. The,argument implies a
cause-and-effect persuasion,which is an argurnentative disguise in order to persuade in favor of
the carpe diem pursuits more than an exercise of logical truth. Examples andsituations 缸e
many,but I only quote one here: “Or 証 that golden fleece must grow/For ever free from
aged snow;/If those bright suns must know no shade
,/
Nor your fresh beauties ever fade;/百len fear not, C
6) Conclusions: TheIconicity-Conve耐ionalityRelation
I have followed a moderate notion of poetics whose trajectory is defined 戶‘between
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