朝、日首部诗话对杜甫诗学思想的接受差异及成因

The Differences and the Causes behind Them in Critiquing Du Fu’s Poetics in the First Monograph on Poetry in Korea and Japan

随着宋诗学在朝、日两国的传播与发展,域外文坛风气发生变化,由宗白之风向杜甫倾斜。作为两国历史上具有划时代意义的诗话学著作,《破闲集》接受了杜诗尚炼琢与无迹用事的特点,追求“了无斧凿之痕”的精妙诗法观;《济北诗话》则沿袭了杜甫诗思、格律并举的整体美学观,在此基础上探讨“尽美尽善”的标准,同时以“活法”评鉴杜甫诗文。比较而言,两者虽皆从杜诗中汲取了养分,但李仁老兼具史官精神,从后世学诗者的立场总结归纳杜甫诗法,而虎关师炼则以域外批评家的视角创作了一部面向唐宋诗人的他国诗话,这种差别不仅因创作视野有异之故,同时与两者所秉持的作家论及地域、时代有关。

Along with the propagation and development of the study in Song poetry in Korea and Japan,the trend in the literary arena in foreign nations changed from worshipping Bai Juyi to admiring Du Fu.As a milestone monograph on poetics in the history of their respective nation,Po Xian Ji accepts the characteristics of refinement and traceless allusions from Du Fu and pursues the concept of exquisite poetics,just“like nature itself without any artificial polish”,whereas Jibei Notes on Poetry follows Du Fu’s overall aesthetic belief in synthesizing poetic inspirations and poetic forms,exploring the criteria for“the acme of perfection”based on that,and evaluating Du Fu’s poems with“flexible law”at the same time.In comparison,even though both authors derived so much nutrients from Du Fu’s poems,Lee In-Lo adopted the attitude of a historian and summarized Du Fu’s poetic style from the standpoint of a poetry scholar of later generation,while Toraseki Ishiren produced a foreign monograph on poetry that addresses the poets in Tang and Song Dynasties from the perspective of an overseas critic.These differences occur due to the authors’divergent vision in their writing and their creative concept,their region,and their time as well.