日本江户时期美人诗的诗学渊源及其认识意义——对杉下元明《江户汉诗》的补充商榷

The Poetic Origins and Cognitive Significance of the Beauty Poems in Edo Period:A Supplementary Discussion of Chinese Poetry in Edo Period by Sugishita Motoaki

日本学者杉下元明在其《江户汉诗》一书中提出,江户时期有一批吟咏美人的诗作,其内容与风格具有通俗、谐谑的特点,且对当时的一些俳谐创作造成影响,可视为汉文学与假名文学相互作用的一个案例。这一看法忽略了中国诗歌传统的作用。梁代、盛唐与晚明都出现过一系列美人诗的创作,日本的这批诗作从诗题、创作方法等方面有受其影响的痕迹。中、日两国的这批诗作,一则显示出晚明时期复古诗风趋于瓦解后诗歌创作对梁代传统的重新选择;一则呈现出日本江户时期不同诗人群体创作的某种共性;一则反映出汉诗创作在江户时期本土化演变的态势。日本江户时期美人诗的诗学意义或可在这一视野中得到认识。

Japanese scholar Sugishita Motoaki proposed in his book Chinese Poetry in Edo Period that there was a batch of poems chanting beautiful women in Edo Period,whose contents and styles were of such characteristics as being popular and bantering,and exerted some influence on the Haikai creation at the time,which could be considered as a case of the interaction between Chinese literature and kana literature.However,this view ignored the effect of Chinese poetic tradition on the poetry of Japanese.There appeared repeatedly in the dynasty of Liang(a period of the Southern dynasties),in the glorious age of Tang dynasty and in later Ming dynasty a series of creations of beauty poetry,which left obvious traces of influence in the Japanese poems in such aspects as topic and creation method.These poems of beauty both in China and in Japan reflected,on the one hand,a new choice in the later Ming dynasty for the tradition in Liang dynasty in poetry creation after the collapse of the retuning to ancient style poetry;and on the other hand,they also demonstrated a certain generality in in poem creation by various groups of poets in Edo Period as well as a posture of localization in the field of Chinese poem creation in Edo Period,the poetic significance of which might be recognized from this perspective.