短歌的诗学:并行与移行

Poetics of Tanka:A Rhetoric of Parallel and Transition

在雅各布森看来,诗歌的并行性是诗歌得以成立的基本前提。但在日本的诗歌传统之中,这个基本前提却并不成立。日本具有代表性的诗歌形式是短歌。短歌作者明确地知道并行性原理的作用,却有意识地回避并行性。比起直抒胸臆的"正述心绪歌","譬喻歌"和"寄物陈思歌"才是和歌应有的形态。但在这些和歌之中,直接描述的事物与主旨之间,往往却并没有任何的关联,只是通过音韵相同或词义相近的词语,制造出视角与话题的飞跃,与此同时为移行赋予一种必然性。这种通过双关语与缘词的使用,以及本歌取的修辞手法,进而创造出顺畅的话题转换和连续性的推移的诗学,这并非雅各布森所找到的并行的诗学,而是移行的诗学。

In Jacobson’s view,the parallelism of poetry is the premise for the establishment of poetry,while it is not acceptable in Japanese tradition. Tanka is the the representative form of Japanese poetry;whose writers understand the role of parallelism but avoid it consciously. Instead of expressing feelings straight forwardly in words,they express them implicitly through subject matters. This is what Tanka pursues. There normally is no correlation between the subject matter and the theme of the poem,they are connected by rhymes or synonmys and create a leap in view angle and topics,as well as a sense of inevitability. The method of using of kakekotoba( pivot words),engo( correlative words) and honkatori( writing poems quoted parts of old poems)to promote smooth topic transiting and topic continuaion is not the parallel poetics found by Jacobson,but the transitional poetics.