试论八景诗日本化的形成模式与形态流变

The Model of Japanese-oriented Formation of Eight-Landscape Poems and the Change of Patterns——Centred on Poetics

由诗话的角度,考察日本文学史中八景诗日本化的形成模式与形态流变,并阐明中日两国文学的异同。主要从以下几方面进行了具体阐述。一,围绕"吴楚"、"洞庭"的诗思与地名更易等问题,曾展开论辩。二,把中国的八景地名套用在日本的名胜上,通过"坐湘"领略八景之美。三,不但分享以湘楚文化为素材的话题,而且以日本式的受容模式以及化用典故的诗句来描绘自己所追求的情景。四,把传统和歌中常用的与汉语汉字具有不同含义的"岚"字也套用到八景诗歌的语境中。五,在八景文化的接受与反思中,赋"日本之景"被视为"潇湘奴隶"而备受批判。

From the view of poetics,this essay studies the model of Japanese-oriented formation of Eight-Landscape poems and the change of patterns in Japanese literary history so as to explain the similarities and differences of eight landscapes poems in Chinese and Japanese Literature.The essay elaborates the statement from five aspects.First of all,there is an argument on the implication and the changes of placenames of 'Wuchu', 'Dongting'.Secondly,Japanese poet applies the names of Chinese eight landscapes on the attractions of Japan.Through 'Zuoxiang' they appreciate the beauty of eight landscapes.Thirdly,Japanese poet shares not only the topic of Xiang Chu culture,but also describes his own pursuing scene through the capacity model of Japanese style and the adopting of allusion verse.Furthermore,Japanese poet commonly applies the word 'Arashi' of traditional Waka,which has totally different meaning in Chinese,on the context of eight landscapes poetry.At last,in the perception and the reflection of eight landscapes culture,the 'Landscape of Japan' is criticized as the 'Slave of Xiaoxiang'.