《和汉朗咏集》文学主体意识论析

An Analysis of the Literary Subject Consciousness in Wakan Roeishu

文学的民族主体意识是指特定文化中的主体对自己文化本质特征和文化归属的认同感,它往往随着国家意识形态的确立,以及外来强势文化的刺激而生成。在古代中日文学关系中,高度发达的汉唐文化深刻影响了日本,同时也加深了日本对于自身文化建构和认同的需要。汉、日语并列的《和汉朗咏集》(1012年)就诞生于日本政治、经济、文化发生了重大转折的平安时代中晚期,由平安时代著名歌人藤原公任编纂完成。它有意识地将中日两国作者的诗文佳句及和歌佳作并列编排成集,并依照和歌集的分类方法进行归类,改变了日本古代经典选编集之汉诗(汉语符号)与和歌(日语符号)二元对立的局面,成为一种"显性"的跨文化书写。然而,日本的民族文学样式"和歌"及日本人作者被提到与汉诗文及其作者同样的地位,说明这部诗歌集还"隐藏"着日本贵族知识分子更为强烈的内在表述,即力图展现吸收、消化中国文学后所生成的一种对峙并美的文学"类书"。

The national subject consciousness of literature refers to the receptivity of the essential characteristics of their own culture and cultural belongingness from subjects in a specific culture, often generated along with the establishment of national ideology and the stimulation by foreign dominant culture. In the literary relationship between ancient China and Japan, the highly developed culture in Han and Tang dynasties deeply impressed Japan, which also strengthened the need of Japan for the construction and identity of its own culture. The bilingual “Wakan Roeishu”(A.D.1012) with the juxtaposition of Chinese and Japanese was compiled by Kintou Fujiwara, in the middle and late period of the Heian period when the politics, economy and culture in Japan had undergone a major transition. By intention, it is a collection of fine poems and waka lines of Chinese and Japanese writers in parallel arrangement categorized according to the classification method of waka collections, which has transformed the binary opposition of Chinese poetry (in Chinese symbols) against Japanese Waka (in Japanese symbols) in the anthologies of ancient Japanese classics and been an “overt” type of cross-cultural writing. However, waka, the national literary form of Japan, and the Japanese writers were placed on the same footing with Chinese poems and verses and their writers, accounting for that this literary collection also contains the stronger “hidden” intrinsic expression of the Japanese aristocratic intellectuals endeavoring to demonstrate the new literary “reference book” entailing a “twin-peak confrontation” of Chinese and Japanese literature out of the assimilation and digestion of Chinese literature.