五山文学中的“玉树后庭花”——以景徐周麟《玉树后庭花》组诗为中心

The Backyard Flowers in Gozan Literature——Centered around Keijo Shurin's Poetry Series Flowers and Jade Trees in the Back Courtyard

五山诗僧景徐周麟《玉树后庭花》组诗中的"玉树后庭花"意象在五山文学中独树一帜。景徐将"玉树后庭花"理解为矮鸡冠花,本自于宋代文学,特别是受到了苏辙的《寓居六咏》和杨万里《诚斋集》的影响。而且,"玉树后庭花"所蕴含的兴亡意识与景徐"兴亡之外"的禅僧身份并不相符,《玉树后庭花》组诗产生于六朝以来咏史怀古诗的谱系之中,是景徐长期浸染中国士大夫文学的结果。一定程度上也说明了五山汉诗的俗化现象。

The image of backyard flowers in Keijo Shurin＇ s poetry series Flowers and Jade Trees in the Back Courtyard shows its own color in Gozan literature. Keijo views these backyard flowers as celosia cristata, which come from the literature of the Song dynasty, especially under the influence of Su Zhe＇ s Yuju Liuyong and Yang Wanli＇ s collection ofCheng Zhai. Fur- thermore, the consciousness of rising and falling reflected by the backyard flowers does not correspond to the identity of a Bud- dhist monk. The poetry series Flowers and Jade Trees in the Back Courtyard draws from nostalgic poems of the six dynasties in Chinese literature, as a consequence of Keijo＇ s long study of Chinese Confucian literature, which reflects the phenomenon of the secularization of Gozan poems.