竹枝词在日本诗学定位的转变及与“好色”文艺的关系

On the Conversion of the Poetic Position of Japanese Zhuzhi Ci and Its Relationship with Erotic Art and Literature

中国文人的竹枝词创作最初源于对民歌的模拟,其诗学定位在长期的发展过程中曾历经数次演变,由最初的采风一变为记叙风俗景观,再变为记录地理掌故沿革等,然其轨迹始终未脱离儒家诗学理论的话语体系。然而在日本江户后期至明治的汉诗坛上,竹枝词却成了一类专门描写游廓及游女的诗作,该定位的成立一则因其描绘风物的性质仍与中国竹枝词的职能相吻合,一则是日本近世以来的游廓文化及“好色”文艺对其性质与面貌造成了较大的影响。与之相应,此类竹枝词的创作与诗学评论遂在相当程度上具备了町人文化的内核,并与儒家诗学观发生了较大的背离乃至冲突。日本竹枝词的演变是近世日本汉文学本土化态势的具体表现之一,并显示出了日本诗学及美学理念在这一进程中所发挥的重要作用。

The creation of Zhuzhi Ci by Chinese literati originated from the simulation of folk songs. The positioning of its poetics has undergone several evolutions in the long-term development process, from collecting folk songs to the narrative of customs and landscape, then to the record of geography and history of one place. But its trajectory has never deviated from the discourse system of Confucian poetic theory. While in the poetry of Chinese style in late Edo period of Japan, Zhuzhi Ci became a specific style of poem which takes brothel (Yuukaku in Japanese) and prostitute (Yuujyo in Japanese) as its themes. The establishment of this positioning is consistent with its Chinese original function of description of scenery, besides, the culture of brothel and literature & art of eroticism (Kousyoku in Japanese) have made a great impact on Zhuzhi Ci’s nature and appearance since modern times of Japan. Correspondingly, the creation and poetic commentary of this Zhuzhi Ci have possessed a core of culture of city resident (Tyounin in Japanese), and makes a great deviation and even conflict with the Confucian poetics. The evolution of Zhuzhi Ci is one of the concrete manifestations of the localization of Chinese style-literature in modern Japan, and shows the important role played by Japanese poetics and aesthetics in this process.